"Fringe" Way Over the Top! - Part 18: Piano Stargates in Media

This blog post is supplemental to a video where we feature 5 clips from the series, Fringe. Here, you'll find many of our observations about the content, links to watch the video, to the playlist for previous installments in the series, and to some recommended collateral studies.

To Watch: "Fringe" Way Over the Top! - Part 18: Piano Stargates in Media


(full HD version for streaming or download)

Please leave your comments here on this blog post or on the Bitchute video.

Find the "playlist" for this piano stargate series here.

KEY: Words with a dash and numbers show gematria values of interest that appear in the dialog and those associated with the objects seen onscreen.

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Clip 1: Fringe S1-E17 "Bad Dreams"

The opening scene is the segue that begins a long Janus ritual sequence: "We need to talk to him NOW!" * Janus, god of time

"Where's the fire?" * Expression meaning, what's the rush? Emphasis on TIME

"I-54 ALWAYS LOVEd-22 that-13 expression-54-54" * Featuring significant gematria - Love Code 54 with a 22-13 power combo

"Lab Assistant (L.A. 12+1=13) was killed in-13 a fire" * Janus rules over death

We immediately see a piano (88keys, evoking Dimensional Transit Code 88, and Janus, god of keys) and a lamp-21-252 shade-222 -- with a pile of books on the table-13 * book book BB22 BBB222 BB88...

"Oh, that takes me back" * into the PAST - in time! Evoking time travel

CLOCK (Janus time) dresser-88 - lamp-21-252 - shade-222 - an open-13 book

"I remember" * reflecting on the PAST in time! * "Belly" is Dr-22-13 William Bell-13. A bell is a dimension transiting device, which is occasionally played up in Fringe episodes in very blatant ways!

"whipping up-222 a peyote-22 mash-22" * Peyote-22 mash-22 is a psychedelic drug-22. * evokes MK-ULTRA mind control use of drugs

Walter and Belly experimented on children, programming them toward the discovery and leveraging of their special psi powers as supersoldiers!

"Let-222 me guess" * Code 222 is a Antichrist number in Theomatics - resonates with Code 22

The piano evokes "dimensional transit" Code 88 because of the 88 key keyboard. Janus - god of keys, boundaries and passages. On the piano is an exercise-88 wheel (of TIME) in a glass-13 hamster cage. Nearby is a glass-13 window-88. Peter's sitting on the piano bench-22. There is sheet-21 music on the piano (signaling time because the notation features time signatures and 21 is a time number. The nearby curtains feature the vertical pleating that evokes the open stargate.

One of the white keys on the keyboard is depressed, calling attention to it. * Janus, god of keys. key-13 keys-21 "perception" -- Huxley-22 (Iconic Sci-fi novel: "Brave NEW-12-252(12x21) World") while showing lamp-21-252(12x21) dresser-22

"Perception is the key-13 to transformation" Janus, god of keys, god of transitions/transformations as the end of one state and the beginning of another.

This is actually magic! Walter and Dr. Bell are magicians, turning Olivia into a magician. And programmers who made her a mind-controlled slave.

"Reality is both subjective and malleable-54. If you can dream a better world you can make a better world." This is "magical thinking." It also evokes the practical reality of hypnotism and the exercise of certain Psi powers.

"Or-21-12 perhaps travel between them" * Walter is explicitly referring to a STARGATE transit as he responds to Peter, who is sitting at the piano!

And, it is at this very point that piano music begins softly in the soundtrack - magnifying the symbolic piano layer of this ritual!

Peter responds to Walter's unexpected and perhaps seemingly non sequitur response, "What did you just say?" He's still at the piano*88 sitting on the bench-22 next to the piles of books-BB-22-88. pile-21-252(12x21)

Nick-22 Lane-22
fridge-113

On top of the piano is a box-13 with the game, "Operation"-113, evoking medical procedures - and the "date of the revealing of the lawless one and time reset" Code 113.

Olivia has been paired or twinned with Nick-22 Lane-22, which is how it commonly is with Illuminati slaves. She has the special skill of jumping between universes, as Dr. Bell tells her explicitly.

---

Season 2 Episode 18: "The Man from the Other Side."

With his piano in the scene, Walter demonstrates how they sent Dr. Bell's car from "this universe to the other side." Janus ritual begins with a knock at the door and Peter opens it letting Olivia inside. Janus god of doors and passages. Doorway-88.

Walter apologizes for how early it is in the day * Janus, god of time. He stutters "I'm I'm. repeating the power combo: "I'm-22-13"
Olivia replies: "okay, okay * Code 666 transformation because of the associated symbolic hand sign.
Walter begins to explain, NOW - in TIME.

The toy car-22-13 (power combo) is on a box-13 (wood-21 cutting board-22) on the table-13 that is round * signaling the circle of time.

Walter pours a line of salt on a circular table to represent the boundary between dimensions. Witches typically include salt as an essential element in their magic. When they cast a magic circle, they will sometimes pour a line of salt on the floor or ground around the circumference to mark that dimensional boundary. Within that "bubble" of "sacred" space they conduct their ceremonial rituals, perform sacrifices, raise energy and cast spells.

Walter demonstrates using a toy car-22-13 that represents Dr-22-13 Bell's Monte-22 Carlo-22 while wearing a robe-22. This part requires 3 tuning forks (fork-22) Theomatic's antichrist number is signaled by the tines, (2 2 2 or Code 222) There's redundancy in the "return back and reset" Code 22 and mastery-of-time+rebel+lord+beast Code 13. This powerful signaling reveals what this ritual is about!

The featured toy car is a 1963 Alfa Romeo 2600 Touring Spider. A car from that make is called an Alfa-88. This resonates with the 88 key piano and magnifies the dimensional transit or stargate Code 88!

While the piano is most easily recognizable, we see both of Olivia's hands on the table, palms down. Her wristwatch is clearly visible, evoking TIME-Janus. Palm-21-252(12x21)

The car is sent down a ramp-21 - demonstrating gravity, which is caused by warping time.

The mirror on the set is a metaphor for this dimension and a "mirror" dimension. Also, framed objects represent dimensional frames. See our "Somewhere in Time" video series for more examples.

stained glass-13 window-88 -- lamp-21-252(12x21) shade-222

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Season 2 Episode 21: "Over There."

This clip begins in the alt-verse. The Fringe Division is investigating a threat to their universe triggered by a crossing over from the other side. The main set involved features a grand piano!

McDonalds "golden arches" - Janus, god of arches. The element gold is Code 22 (AU is 1+21 is 22) frenchfries-666 resonates with the Fringe division logo. FF=66 and circle=O=15=6

The location of the dimensional breech is an opera house-22 that features a grand piano *88 with bench-22. Next to it is the only other instrument on stage, a cello-88. "FringeDivision-88 The investigative and containment team together with the two instruments and the opera house redundantly signal Dimension Transiting / Stargate Code 88 - and also the return back and reset Code 22!

Lincoln Lee (LL 12 12) places a silver dollar with a date (time) on it in a glass of water - and it floats. Time is money -- Water-as-time -- glass-13, mastery of time. It's a gravity test, and gravity is caused by warping time. In the zoomed-out shot appears the cello-88 and the conductor-113 stand-13. Beeps-88

"We can't have another Boston-22, captain." * That's a repeat - resonating return back and reset Code 22!

Countdown (Janus) begins, "Warning. one MINUTE to quarantine."
"massive-88 loss of life-22 will result." Janus, god of birth and death, and gates and passages.

A dead man is found upstairs with a picture id and money (TIME is money) from the other universe. He had crossed over, causing their "stage-three degradation event."

"Saw a blue-13 flash through the-12 window-88."

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Season 4 Episode 7: "Wallflower"

This clip is set in the alt-verse, but the apartment is familiar. The piano is present as the conversation revolves around the transiting between the dimensions. The return back theme is dominant! Major Janus ritual!

"Sorry it took SO LONG (TIME) for Broyles to sign-22 off*Code 666 on this stuff." The notable "Intersection" Code Combo!

Peter Bishop welcomes Fringe Division agent Lincoln Lee in, through the doorway-88 Janus, god of doors and passages. We see the action unfold as a reflection in the mirror. Why? Because the scene is set in the alt-verse, the realm of the mirror's reflection. Lincoln is native to that universe. While Peter is from there, originally, he mostly grew up on other side, which he considers home. The entry's framed mirror is a kind known as a Janus mirror because those are intended for an entryway. Coat/hat rack - mirror for checking appearance on exiting and arrival.

The next wall mirror is framed (dimensional frames) and oval-22 with a shelf-22. In an entry area, this is where you would keep your keys-21 for your car-22-13 and house-22. Key-13

"for-21 all your help-13 the-12 other DAY-12, I'm-22-13 surprised he-13-13..."

"like-222 a human being-222. I haven't been getting that-13 a lot LATELY-21. (TIME) I appreciate it."

"get-13 you back home to where-22 you came-22-13 from?" - resonates "return back and reset" code 22 * spoken with the piano*88 in view.

"The-12 machine was powerful enough to snap-22 me out of-21-12 my TIMELINE. It stands to reason that-13 it's powerful enough to snap-22 me back in-13." implicit: to his TIMELINE. - resonates "return back and reset" code 22

"...getting back home-13." * resonates "return back and reset" code 22

"Alt-Universes, different TIMELINES. Olivia says that-13, EVENTUALLY all of-21-12 this will seem-21-252 run of-21-12 the-12 mill."

Time-Binding:

- @ 21:52 - 21 appearing on counter means 22nd minute - Peter comes through doorway - doorway - Janus - there is a mirror showing Peter's reflection in the same shot.
- @ 21:53 ET - 22nd minute - Lincoln - time language - "sorry it took so LONG-21 to sign-22 off on this stuff"
- @ 21:56 ET - 22nd minute - Peter - more time language - "I was STARTING to get worried."
- @ 21:58 ET - Lincoln - more time language - "...the other DAY-12..."
- @ 22:12 ET - Peter - time language - "...getting that a lot LATELY"
- @ 22:13 ET camera shot changes - we see the piano in the background
- @ 22:14 Lincoln says, "So, you really think it'll get you BACK to where you came from?" - referencing the other TIME-line that Peter views as his home.
- @ 22:17 ET Peter responds - "The machine was powerful enough to snap me out of my timeline." - Piano is still visible (blurry) in the background behind Peter.
- @ 22:21 Peter is finishing his sentence about the machine being powerful enough to get him back into his timeline "...to snap me back in."
- @ 22:25 - Peter -"...It's my best chance of getting BACK home-13"
- @ 22:26 - Lincoln - "Alt-universes, different timelines."
- @ 22:30 - Lincoln - more time language - "...EVENTUALLY, all of this is...."

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Season 4 Episode 8: "Back To Where You've Never Been."

The title of this episode evokes the reset of time that we're eagerly anticipating! We've already experienced 2012, of course, but not the version we'll find ourselves in!

This final clip features the really blatant piano stargate transit we previewed earlier. The setting is the same opera house featured in the other clip where a tense near-quarantine situation raised a lot of energy for the occult ritual.

Lincoln Lee (L-12 L-12) stammers, "if-12 if-12" * Redundantly signaling the time number.

"It'll cut you in half." resonates the number 2, division, and 22 as the cutting of the flesh-22(11)

"crossing through" - the portal between dimensions.

"I killed (Janus) a guy like-222 that-13 ONCE-222 ... He-13-13 was a bad guy."

Olivia: "Good-13 luck." winks * signaling the eye of Horus - Lady Luck goddess - goddess of stargate transits - and the sodomite gateway.

Agent Lee is seen crossing over through the portal, right in front of the piano*88 in the opera house-22.

"You Okay"? *Code 666

As they descend to the lower plane on their way to the exit, they remain right in front of the piano.

Time-Binding:

- @ 13:13 they are on the stage of the opera house-22 getting ready to fire up the dimensional portal/transiting equipment
- @ 13:51 Peter and Lincoln have finished coming through the portal and it powers off - showing the piano on the stage in the background.

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For collateral study:

Fringe and the Dandelion Sign of the Pending Time Reset
Janus Ritual - Real, Effectual - and Common! * Also, here's two articles (wikiwand and romanpagan.wordpress websites) that will help you learn about Janus and Janus worship, so you can be better able to recognize when Janus rituals are being performed in media productions.
Time Number Codes and the Plus-Ones

Curious about the pending reset of time? Learn more here: The Pending Reset of Time

Find most of our video and audio here:
Video & Audio Catalog
Video "Playlist" Catalog

Our Channels

→ Bitchute: The Open Scroll
→ Brighteon: The Open Scroll
→ Rumble: The Open Scroll Mirror
→ YouTube: When Cometh That Thief in the Night
→ YouTube: The Open-ish Scroll
→ YouTube: These Patterns are Amazing
→ YouTube: Stormy's Reverse Speech

Donnie Darko - PizzaGate-Resonant Initiation - Part 3 - The Tale of a Spurious Timeline

In this third installment, we cover scenes that feature the themes of several other key video series that we've produced in recent years. We deal with subjects that are for mature audiences only, plus there's crude language in some of the clips we'll be playing, so, be forewarned.

Donnie Darko - PizzaGate-Resonant Initiation - Part 3 - The Tale of a Spurious Timeline (full HD version for streaming or download)
Donnie Darko - PizzaGate-Resonant Initiation - Part 3 - The Tale of a Spurious Timeline
Donnie Darko - PizzaGate-Resonant Initiation - Part 3 - The Tale of a Spurious Timeline

Find the "playlist" for this Donnie Darko series here.

Other related resources:
Hands Up! This common gesture has a secret meaning!
The blogger search link for "hand eye"

Curious about the pending reset of time? Learn more here: The Pending Reset of Time

Find our video and audio here:
Video & Audio Catalog
Video "Playlist" Catalog

Our Channels

→ Bitchute: The Open Scroll
→ Brighteon: The Open Scroll
→ Rumble: The Open Scroll Mirror
→ YouTube: When Cometh That Thief in the Night
→ YouTube: The Open-ish Scroll
→ YouTube: These Patterns are Amazing
→ YouTube: Stormy's Reverse Speech
→ YouTube: Our legacy YouTube channel (nearly entirely decontented but still useful for comments and notifications.)

FAQ about word/anagram clustering

This FAQ about word/anagram clustering offers some insight into the Occult message layer we find in promotional text like ad copy and title screens, product labels, and so on.


F. A. Q. (frequently asked questions)

Is this a joke?
Rarely, and when it is a prank, the clustering is typically very limited.


Is this a coincidence or intentional?
To a degree, word clustering may happen naturally; accidentally or incidentally. The extent of it, together with the nature of the context reveals the intent behind it.


Why would anyone do this on purpose?

1) Theurgy - a religious practice that is not uncommon
2) Mind Control - hypnotic suggestion/induction

a) N.L.P. (Neuro-Linguistic Programming) "subliminal" influence

b) Symbol magic spell - Sodomy symbolism multiplies the potency of other symbols and provides supernatural cover for other themes present

c) The sorcery (pharmakeia) of Mystery Babylon (Revelation 18:23)

Why expose this matter of crude and subtle messaging?

1) This kind of education dissipates the supernatural influence, which works in the way of Occult symbolism under the cover of secrecy.

Darkness is dispelled when brought into the light.

2) This mechanism is a weapon wielded in a spiritual war where the stakes are high, and exposing it is a way of engaging in spiritual warfare.
3) The One who makes men free indeed directs us to fulfil our obligations, to pay our debt of love.


Why keep making these same kinds of videos?

We are being preyed upon continually with endlessly clever snares and we will be manipulated according to our ignorance and dullness of perception. Discernment must be practiced, like learning to play a musical instrument - or wield a weapon.


Learn what your enemies are doing, how they do it, and understand why.

See one of their goals as the engagement of Revelation 19: "And I saw the beast and the kings of the earth with their armies gathered to make war against him who was sitting on the horse and against his army."


Some Relevant Scriptures

The hearing ear and the seeing eye, the Lord has made them both. ~ Proverbs 20:12

Take no part in the unfruitful works of darkness, but instead expose them. ~ Ephesians 5:11

so that we would not be outwitted by Satan; for we are not ignorant of his designs. ~ 2 Corinthians 2:11

11 About this we have much to say, and it is hard to explain, since you have become dull of hearing. 12 For though by this time you ought to be teachers, you need someone to teach you again the basic principles of the oracles of God. You need milk, not solid food, 13 for everyone who lives on milk is unskilled in the word of righteousness, since he is a child. 14 But solid food is for the mature, for those who have their powers of discernment trained by constant practice to distinguish good from evil. ~ Hebrews 5:11-14

19 We know that we are of God, and that the whole world lies in the power of the evil one. 20 And we know that the Son of God has come, and has given us understanding so that we may know Him who is true; and we are in Him who is true, in His Son Jesus Christ. This is the true God and eternal life. ~ 1 John 5:19-20

Behold, I send you out as sheep in the midst of wolves; so be shrewd as serpents and innocent as doves. ~ Matthew 10:16

Be sober-minded; be watchful. Your adversary the devil prowls around like a roaring lion, seeking someone to devour. ~ 1 Peter 5:8

Submit yourselves therefore to God. Resist the devil, and he will flee from you. ~ James 4:7

3 For though we walk in the flesh, we are not waging war according to the flesh. 4 For the weapons of our warfare are not of the flesh but have divine power to destroy strongholds. ~ 2 Corinthians 10:3-4

10 Finally, be strong in the Lord and in the strength of His might. 11 Put on the full armor of God, so that you will be able to stand firm against the schemes of the devil. 12 For our struggle is not against flesh and blood, but against the rulers, against the powers, against the world forces of this darkness, against the spiritual forces of wickedness in the heavenly places. ~ Ephesians 6:10-17

Do not withhold good from those to whom it is due, when it is in your power to do it. ~ Proberbs 3:27

So whoever knows the right thing to do and fails to do it, for him it is sin. ~ James 4:17

16 By this we know love, that he laid down his life for us, and we ought to lay down our lives for the brothers. 17 But if anyone has the world's goods and sees his brother in need, yet closes his heart against him, how does God's love abide in him? 18 Little children, let us not love in word or talk but in deed and in truth. ~ 1 John 3:16-18

But if the watchman sees the sword coming and does not blow the trumpet and the people are not warned, and a sword comes and takes a person from them, he is taken away in his iniquity; but his blood I will require from the watchman’s hand.’ ~ Ezekiel 33:6

Decoding "Too Much" by the Dave Matthews Band

The song "Too Much" by the Dave Matthews Band was nominated for a Grammy in 1997 for "Best Rock Song." It didn't win, and never hit the top of the charts but it did very well for the band. Like so many other popular songs, the real subject and what's being dramatized in the music video is completely misunderstood by the popular audience. This is about one of the horrors of mind control programming, the forced ingestion of bodily excretions (i.e. "pizza"), and this ties in to the previous post to this blog, about the petition to be allowed to drink the foul red mummy sewage from the sarcophagus recently found in Alexandria, Egypt.

You will find the official music video on YouTube: "Too Much" by the Dave Matthews Band

The video features the band playing on a small stage like in a private studio. There is a backstage area that has a machine. A woman pours something from a very traditional fireplace ash bucket into the machine and turns the crank. The liquid that looks like it came from Marina Abramovic's performance art rituals comes out, flowing through a tube. This is force feeding a man who has been given a kind of clown mouth, who shakes as he ingests it.

Then, we see her with a look of disgust and contempt.

She looks disgusted because this is a disgusting sewage concoction, "pizza." She is the SRA handler, or programmer, abusing the victim in a way that builds trauma.

This kind of thing is more commonly presented to the public that you might suspect.

If you haven't studied about this practice of traumatizing mind-control victims, I recommend that you do, so you learn to see what you're looking at. It's gross and disturbing, but this is a reality, and being naive or in denial doesn't help anybody deal with reality. Seek the Lord Y'shua to give you courage and wisdom, to know how to pray.

Victims are fed and then told that if they pee or poop they will have to drink and eat it. They are not given any potty break, so it's just a matter of time. When they can't hold it anymore, they are forced to eat and drink it. They are forced to eat and drink the spit and sewage and vomit and semen and menstrual flow and blood and puss and this kind of torture brings the slave to a point where they can't bear the trauma. There are other horribly cruel abuses that go along with this, emotional and physical, including rape and sodomy. Young children are forced to give oral sex to adults and to receive it also.

Here's one victim who goes by the name of Kim Noble. She is reported to have 21 whole personalities or alter identities, and 13 of these alters paint. The one known as Ria Pratt paints vivid scenes of torture, illustrating this pedophile abuse.

The result is that the victims check out, mentally, to isolate themselves from the unbearable reality. This is called dissociation. They literally lose their minds, and this is the point of the abuse, so the programming system can then be installed that makes them an undetectable and completely loyal slave. They are called multiples because they have multiple identities, that are compartmentalized. This kind of thing is known as SRA DID or referred to as Monarch or MK-Ultra programming. It's been going on for thousands of years in association with the ruling families around the world, but since WWII this has been refined with multiplied numbers and magnified impact on the world. It may be said that this evil is a foundation of how time itself has been skewed, requiring a reset to fix it.

Here's how the song begins.

"Straight in. suck up and go,
cool it, swallow, swallow
Breathe deep, take it all
it comes cheap
Push it through the doors
because in between the lines
I'm gonna pack more lines
so I can get in

Ooh traffic jam got more cars
than a beach got sand
Suck it up suck it up suck it up
fill it up until no more
I'm no crazy creep, I've got it coming
to me because I'm not satisfied
The hunger keeps on growing

I eat too much
I drink too much
I want too much
Too much"

It's not about gluttony. It's about being tortured by forced ingestion. After they dissociate the slaves are programmed to want this, and they crave the "charge" it gives them. They become crazy for pizza. If you understand what we covered in the last post and in our PizzaGate videos Parts 6-8, especially what we showed you about Aleister Crowley's The Book of Lies, you'll get it.

So the excess this video goes on about so energetically isn't just a quirky frolic. It's the victim's story about being brought to the place of exceeding the bearable limit of trauma, leading to dissociation. Here's more of the lyrics.

"I've got to get it somewhere
I mean, you never know, maybe you're dreaming
Who do you think you're watching
Who do you think you need
Play for me, play more.
ten times in the same day
I need more. I'm going over my borders
I'm going to take more, more
from you, letter by letter."

It's not a dream but the going over the rainbow to the land of Oz or down the rabbit hole to Wonderland.

Who, indeed. Which identity in the array has to be called up to be accessed?

Apparently, stepping through the alphabet is part of the programming "game." That's probably way too many repetitions to endure.

The visual part of the music video complements the theme. Backstage, a character is introduced who is a programmer or handler, witch and high priestess. She is dimly lit when she's introduced, like a shadow, because she operates off-stage, in the shadows. She is also modeling the goddess (bent elbow pose), and ultimately, Lucifer. She has a feather boa, which is a symbol of the feathered serpent dragon worshiped as Amaru and by many other names. Compare her to the goddess with the Code 33 rainbow eye beams in the Comet Ping Pong Pizza painting. The parachute is a symbol that compares to an umbrella. It catches air as spirit as one falls to the earth out of heaven. She is a fallen angel. The parachute (poop chute) pictures the rayed anus sodomite gateway to illumination.

One of her hats is like an orange butterfly, which signifies, Monarch Programming. She pours something from a fireplace ash bucket into a machine and turns the crank. If you have seen our pizzaGate video on the Goonies film, you know that the ashes from a fireplace are from logs (poop) that are burned and then typically shoved through the ash hole under the grate to be collected down below. Right. The ash hole.

As she turns the crank that processes and supplies the strange brew, dark figures stand by. Demons - aids, on standby. Green is Satan's color. The green resonates Emerald City where the wizard rules Oz. The machine's crank has a spoked sun wheel design, like what is so common to the set of Emerald City and Dorothy's farm. Sun worship, of Apollo, Horus, etc. This witch is like the pretty Glinda, the "good" witch. She's also like the wizard of Oz himself, working behind the curtain with a machine while the show is put on.

This disgusting liquid is fed to a man. The hat on the head is resonating Alex in Clockwork Orange. The hat is a butt and sodomy symbol.

Then, we see her with a look of disgust and contempt. "Pizza - gross!"

The victim looks like a clown, a joker with big lips around the tube (bowels) receiver. The programmers mock and scorn the victims. The goggle-like glasses worn by the hat wearing men make the hat-as-butt symbol redundant because this is about glASSes, and this is why we see magnifying glASSes also being featured. They also are for enhancing vision, meaning third eye illumination.

The camera and viewer perspective passes through a ring of lights. This viewport is the sodomite gateway of illumination.

This victim has dissociated and has multiple identities. In this scene, they are bobbing up and down mimicking a carousel or Merry-Go-Round, which is the training for how one alter is accessed or called up while the others all go down. They are all very wooden.

Again, the victim is being force-fed by the goddess-handler-witch. She's gloved. Her hands never get dirty. She has the slave "eating out of her hand." That expression means, doing whatever she wants.

This car appears because it is a Dodge Viper, a deadly snake. Satan. Reflections of the goddess appear, who dances with a feather boa - feathered serpent. This is a demonic vehicle for the transport of demons, for the installation of Legion, many demons. The wheel is a 5-spoked magic pentacle. A tire is another common anus symbol.

Again with the multiples, increasing in number as the programming continues. They all wear suits, meaning, changing alters is like changing suits.

There's a dinner party that resonates the Mad Hatter's tea party and Rocky Horror Picture Show's Time Warp gala. A frenzied gluttonous orgy of apparent cannibalism is served by a butler, as in the house of the elite, like in "Eyes Wide Shut". What suggests meat in a meat locker hangs from the ceiling, resembling body parts.

It looks like a grotesque head on the table near the big shell dish.

Big magnifying glASS - can see plenty good now, with the seeing eye of sodomite Luciferian illumination.

The goddess, exalted over the scene, is content with her work.

They show you what's on stage, which seems to be acceptable, though a bit quirky and spastic. And they show you what's going on backstage, at least a thin slice of it. Even though they're putting some of it on exhibit, they hide what it means. They can't put it all right out there in the open, but just enough, in the way of obfuscation. That's how their spells work, deceiving, making captives of the ignorant. Mystery Babylon the Great.

If you read what we wrote about the desire to drink the red mummy sewage juice and Aleister Crowley's recipe for Cakes of Light, you may have already made this connection with the machinery of the "Too Much" music video. The ashes in the ash bucket are from the burning and the machine is thus making cakes of Light.

From "The Book of the Law" - Liber AL vel Legis:

"23. For perfume mix meal & honey & thick leavings of red wine: then oil of Abramelin and olive oil, and afterward soften & smooth down with rich fresh blood.
24. The best blood is of the moon, monthly: then the fresh blood of a child, or dropping from the host of heaven: then of enemies; then of the priest or of the worshippers: last of some beast, no matter what.
25. This burn: of this make cakes & eat unto me. This hath also another use; let it be laid before me, and kept thick with perfumes of your orison: it shall become full of beetles as it were and creeping things sacred unto me.
26. These slay, naming your enemies; & they shall fall before you.
27. Also these shall breed lust & power of lust in you at the eating thereof.
28. Also ye shall be strong in war."

And again, this is really about making war on their enemies. You and I.

13 But He answered and said, “Every plant which My heavenly Father did not plant shall be uprooted. 14 Let them alone; they are blind guides of the blind. And if a blind man guides a blind man, both will fall into a pit.” ~ Matthew 15:13-14

See what you're looking at. Again, let it speak to you about the condition of the world and how it got to be this way.

We have some good news and some bad news. The bad news is, it's going to get worse before it gets better. The good news is, for those who are found worthy, it's going to get better - WAY BETTER! The Lord Y'shua has a plan - and it's working perfectly!

Drink the foul red mummy sewage? A joke, insane, or what?

Why are people petitioning to drink the red liquid from the Egyptian Sarcophagus?

In July, a large, sealed, black granite sarcophagus was discovered in Alexandria, Egypt, along with an alabaster head in the same pit. It was 8 by 4 by 5 feet, which might be the largest sarcophagus found so far. It was dated to a little over 2000 years old. When it was opened, three decomposed mummies were found inside, with their skeletons largely intact, and some reddish brown liquid that we're being told is sewage that seeped in through a crack.

About this liquid, as foul smelling as it is reported to be, people want to drink it. About 32,000 people have already signed the change.org petition found here. let people drink the red liquid from the dark sarcophagus

The petition is being made to "king of skeletons, egypt" and whether or not you think it's just a sick joke, there's more to this idea than most people realize.

The petition simply reads: "we need to drink the red liquid from the cursed dark sarcophagus in the form of some sort of carbonated energy drink so we can assume its powers and finally die"

First, calling the container a "cursed red sarcophagus" is not a silly idea. Historically, curses have sometimes been identified in the hieroglyphic messages associated with some tombs, and what has happened to those involved with opening the tombs and the contents of the tombs has made believers out of many. Could the red liquid be like an energy drink? Could the drinkers assume its powers? Do they really want to die from this? This only makes sense if you understand about energy vampirism and blood sacrifice, cannibalism, coprophagia, ritual sodomy, of the practices of the undergrounders, the illumined elite and Satanic Ritual Abuse. They don't really want to die, they want to ascend to be with the gods and live forever. They want to transcend this life. They understand that drinking and eating the most putrid and disgusting things is a source of power. The juice, the charge, that's what they crave. The charge is demonic. It's not so much the juice but the demons that infest it when they ingest it. With such a disgusting vehicle, you might think that ingestion would be a traumatic experience, and you would be right. It's used in ritual abuse situations to build trauma, and initiate demonic possession.

Here's an image to compare that should speak to you. Body in coffin with reddish brown liquid - offered for consumption.



This photo of Lady Gaga and Marina Abramovic was taken just over 5 years ago during the 20th annual benefit for the Watermill Center, an Art center in Water Mill, NY. From their website: "The Watermill Center is a laboratory for the arts and humanities providing a global community the time, space and freedom to create and inspire." We note "time, space" suggests their activity has to do with influential time-space ritual. The Center just held their 25th annual benefit, titling it, Time Bomb.

From a DailyMail.com article from 2013 (Not too ghoulish, Gaga? Singer is nonchalant as as eats fake blood off woman's naked body at art show): "Gaga, then spotted the woman covered in blood, an onlooker told the NY Post: 'There was a casket with a totally naked woman laying in what looked like a pool of blood. On a table nearby there was a row of little spoons — no one had touched them, because no one knew what they were for.' [Wilson] gave two spoons to Gaga and Marina . . . and Gaga dipped the spoon right between the artist’s legs, and took a sip. She then, 'proceeded to lick the spoon.'"

What makes Lady Gaga act that way, and were did Marina come up with such an idea for her "performance art? Are they crazy? Crazy evil. It's their religion.

Lady Gaga bottled and sold such potions as a perfume called, Fame, which she introduced to the market in August of 2012. Some of the controversial ingredients had to do with sperm and blood and belladonna, a poison traditionally used by witches. She promoted the perfume in connection with her song titled, "Scheiße" - which interprets to the English slang for excrement. It features black goo, which is a familiar substance in films and music videos that probably has to do with the bodily fluids, perhaps representing what it looks like in the spirit realm. There's a "mummy" connection there because of the "zombie" skeleton death look celebrated.

Here's a picture of Katy Perry from, Bon Appetit. Ready to devour a human body part pizza. It's about cannibalism and human sacrifice and it's highly sexualized - charged with eroticism. Energy Vampirism.

Remember PizzaGate? This special sauce or energy juice is "pizza." Remember the pizza slosher making the rounds collecting everyone's bodily excretions in Katy Perry's music video, "This is How We Do?" The series of videos we made on the subject never got much traction, but those of you who gave it your attention learned what pizza really means, in the secret code language of the elite. If you're not convinced, see the Pizzagate series installments #6-8 (Pizza Esoterica 6 - Katy Perry's "This is How We Do" - "Pizza Slosher's" Collection)

Marina Abramovic is known for inviting people like John and Tony Podesta and other celebs and political figures to join her for Spirit Cooking. Here she is at one of her famous "not a ritual if it is art" "performance art" rituals.



She splashed a disgusting looking tub of reddish brown semi-gelled substance on a figure that looked like a mummified baby. What she painted on the walls identifies what must have been in the paint. Fresh morning urine, breast milk and sperm and blood. It would not be surprising if it was actually the blood of sacrificed babies, and menstrual blood, which is called starfire, and there is probably what's called, blush, which is the bloody discharge collected from the anus of a roughly sodomized victim.

The acclaimed warlock Aleister Crowley recorded a book when he was in Cairo, Egypt. It's the foundation of Thelema. Here's a section that includes a recipe. This is referred to as Cakes of Light.

From "The Book of the Law" Liber AL vel Legis:

"23. For perfume mix meal & honey & thick leavings of red wine: then oil of Abramelin and olive oil, and afterward soften & smooth down with rich fresh blood.
24. The best blood is of the moon, monthly: then the fresh blood of a child, or dropping from the host of heaven: then of enemies; then of the priest or of the worshippers: last of some beast, no matter what.
25. This burn: of this make cakes & eat unto me. This hath also another use; let it be laid before me, and kept thick with perfumes of your orison: it shall become full of beetles as it were and creeping things sacred unto me.
26. These slay, naming your enemies; & they shall fall before you.
27. Also these shall breed lust & power of lust in you at the eating thereof.
28. Also ye shall be strong in war."

Make note of the context. This is for making war on your enemies. It's like how it is with the Eye of Horus, when it is placed in the hand, according to the ancient pyramid texts. It's like how the eye on the pyramid on the great seal has to be interpreted, according to the context of the Latin expressions Annuit coeptis and Novus ordo seclorum borrowed from Virgil. It's for war. The Egypt thread - the name, Cairo, means, Camp of Mars. That's the god of war. They aren't going to tell you about the warring because, if you're not them, you're one of their targets, especially Christians who wield their sword of the spirit and wear their armor engaging the Adversary and his minions.

If those who crave such energy drinks were your friends they would not be carrying on with their dark secrets. Are you alert and watching? Your enemies are waging fierce war against you, right in our midst. Ephesians 6.

Part 18 - About the Schedule of the Pending Reset of Time

Series Links: About the Schedule of the Pending Reset of Time

We begin this installment where we left off in Part 17, where a remarkable feature of the account of the crossing over of the Jordan into the promised land was put on exhibit. The remarkable modeling of the action of the narrative in the structure of the text is not hidden there just to get our attention. When we focus our attention at the Author's invitation and in His leading we find instruction about the ordering of things in the scenario, in space and in time. What comes to light are secrets of the future and of the past, and these insights are of such a nature that, in conjunction with the signs we continue to receive, we recognize the familiar "sealing of the deal" that says we are on the right track.

Last month I received a series of email notifications from the Chiasmus Exchange website about postings on the thematic structure of Joshua's account of the crossing over into the promised land and taking of Jericho (May 19, 20, 31). These began after I had already begun the work of compiling and organizing my notes toward publishing these installments on the same material, and these were each received and opened at opportune moments. As you know now, with the publishing of Part 17, the insights gleaned from a revisiting of the thematic structure's chiasm and parallelism have opened the way to other significant insights so there are multiple points of relevance!

Aaron received another "12:21 on the digital clock" sign on June 11. While listening to a sermon by David Wilkerson (TIMES SQUARE CHURCH), he put a warm compress on his eyes (theraputic). It was about midnight on the 10th, and while resting his eyes he dozed off. Aaron woke up to hear David talking about Joshua commanding the priests to stand in the middle of the Jordan. He immediately took off the compress and looked at the clock - 12:21.

I advise you to buy from Me gold refined by fire so that you may become rich, and white garments so that you may clothe yourself, and that the shame of your nakedness will not be revealed; and eye salve to anoint your eyes so that you may see. ~ Revelation 3:18

There are many other signs that we want to share and, Lord willing, these will be the subject of future installments in this series.

We see time signs in connection with this passage about the crossing because it has to do with the pending reset of time! We are convinced that the ritual removal of and resetting of sets of 12 stones will have a role to play in days yet to come.

The following verse near the end of the account has a message for us.

that all the peoples of the earth may know that the hand of the Lord is mighty, so that you may fear the Lord your God forever.” ~ Joshua 4:24

Do the children of Israel as a corporate entity fear the Lord even now? No, to be frank. Not yet. But they will, and it will be without end - but not without another round of fulfilling what is pictured in this prophetic passage!

We see the miraculous crossing of the Jordan under Joshua's leadership resonating through history as other significant events happen in the same place.

Elijah and Elisha crossed over on dry ground with a parting of the waters, and Elisha crossed back over in the same manner, returning only after Elijah had been witnessed being taken up in a whirlwind to heaven. Elisha's return back across the Jordan after the departure of Elijah is a snapshot of the reset of time, and the doubling of the anointing is a notable feature! It is no coincidence that they crossed where they did, and neither is it a coincidence that this account bears the keystone design, as presented in The Keystone Pattern - 2 Kings 2 - Elijah Taken up in a Whirlwind. When we have shared some of the secrets we have learned about Joshua's crossing, the later crossing over of Elijah and Elisha should make so much more sense.

John the Baptist is identified as Elijah and he had a key role in a great transition. He baptized in that same place! When John saw many of the Pharisees and Sadducees coming for baptism, he addressed them, and in so doing he made a notable reference to those 12 stones Joshua had placed in the Jordan.

for I say to you that from these stones God is able to raise up children to Abraham. ~ Matthew 3:9b

When Y'shua came to the Jordan to be baptized by John it was at this same location of the circle of stones around where the priests had stood with the Ark of the Covenant.

16 After being baptized, Jesus came up immediately from the water; and behold, the heavens were opened, and he saw the Spirit of God descending as a dove and lighting on Him, 17 and behold, a voice out of the heavens said, “This is My beloved Son, in whom I am well-pleased.” ~ Matthew 3:16-17

The supernatural phenomenon that attended the event bears witness to the opening of a dimensional portal. Again, when we have shared some of the secrets we have learned about Joshua's crossing, that should also make so much more sense.

While I was revisiting the thematic structure I was led to give attention very particularly to the temporal and also the spacial considerations of the narrative, with a recognition of how perfectly ordered and orderly everything was. Suddenly, a simple insight came forth about the design of the sets of 12 stones. A week earlier, Aaron and I had puzzled over what arrangement was made in the positioning of the sets of 12 stones because we were both experiencing a very heightened awareness that this was a significant matter. Back then, we could only conclude that we did not know and note that the Lord had highlighted it as a matter of interest. When the Lord shined a brighter light it was obvious that the arrangements of the stones are circular. Both the memorial in Gilgal and the set placed in the Jordan are stone circles. This simple insight bore some immediate and remarkable fruit as we made connection after connection. This inspiration led quite directly into a sequence of related insights about circumcision and the tabernacle in the wilderness and biblical expressions of space and time and the heavens and earth!

As the brighter light began to shine I reflected on the meaning of the names involved in Israel's location. The place where the 12 stones were carried and the memorial constructed is called, Gilgal. Strong says this means, "circle (of stones)." Brown-Driver Briggs offers, "(sacred) circle of stones." If you're thinking - Stonehenge, Avebury Circle - you're on the right track! Those ancient henges were probably Pagan constructions built according to the design of some genuine. They would have had to be, otherwise there is no legitimacy to their forms or rituals. It must be known that the Adversary is not creative but rather imitative. He is only able to exploit that which is given to him and only within the allowable limits toward the end of the ultimate fulfillment of the sovereign Creator's own purposes.

The stones that were carried to their lodging places in the camp were set in a circle both before and after being made a monument. Each of the 12 tribes had a man with a stone. They camped as they had while in the wilderness, in a ring around the tabernacle, facing it. (Numbers 2) All is orderly and precise, with each tribe and stone in its assigned place. We now understand that this spacial arrangement relates to how the 12 stones had been positioned as they were removed from the Jordan. When Joshua crossed over the 12 stones from the promised land and set them into place at the feet of the priests who carried the Ark (Joshua 4:9), they were placed in a circle, each stone according to its place and in its time.

The ritual removal of and resetting of stones was not willy-nilly but rather was precisely choreographed. You may not know it yet but there was a symmetry and synchronization that was in ceremonial language a beautiful expression of the profound realities of space and time!

While the people crossed over the Jordan and flowed around the ark they kept the prescribed distance of 2000 cubits. That distance should be recognized as the radius of a circle. This was concentric with the circles of stones removed from and placed around the Ark. As the nation crossed over the scene was not one of a chaotic mob. They hurried but there is no suggestion that they might have been organized in some way that departed from the manner in which they were accustomed. The armies were in martial array, like as those of the tribes whose inheritance lay east of the Jordan (Joshua 4:12-13, Numbers 32). We are told that all the people crossed in martial array, marching in fifties and hundreds, when they crossed over the sea at the exodus from Egypt, to which this crossing is compared. We know that the priests (Kohathite) who carried the Ark were first in and last out, and that they stood in the middle of the dry Jordan riverbed until everyone had crossed over. Beyond this we're informed of no other change to their routine.

If the tribes traveled in the customary sequence of when they departed camp, the three tribes of the Camp of Judah (East) would have crossed first, with their flocks and herds. (The herded livestock would have formed the outer flank because, if you've ever marched in a parade behind horses, the logic in this arrangement is obvious.) If there was any order to the stone crossing ritual that was going on while the people were crossing over, and we have every reason to believe there was, the stones removed by the representatives of those 3 tribes would have been picked up and carried over in connection with each man's tribe, as with every other stone and tribe in sequence.

As we develop things further the necessity for this kind of order should become obvious. This is not just, us, being artfully imaginative. We know our God, Who does things in an orderly fashion. The account of creation in Genesis 1:1-2 does not suggest that the earth was created without form and void but rather that it became that way, having formerly been in a highly ordered condition. This matter of a standard of orderliness is evident even as the church assembles and there are manifestations of the spirit!

But all things must be done properly and in an orderly manner. ~ 1 Corinthians 14:40

When the physical creation is considered on macro and micro scales, when our ability to perceive it is sufficient, precise ordering is evident. Have you been paying attention to the demonstrations we've been offering of the Bible's highly ordered thematic structure? This inherent characteristic is manifest in the holy scriptures from Genesis all the way through to Revelation. In the minds of most, if anything might lack order, that would be it, but, despite any willful ignorance or unwillingness to accept it, that view is not supported by the demonstrated reality. While there is much more to be known about biblical numberings and gematria and such literary encryptions as "ELS Torah codes," the fundamental premise of underlying perfection is legitimate. God is a God of order.

Now, about the simple geometric figure that is the circle, many appear in the crossing of the Jordan and the taking of Jericho but few appear to us now unless we know where to look - and how to see. In this installment we're merely introducing a collection that requires further installments to present, which we intend to do, Lord willing.

When you begin to understand these circles as terms in the ceremonial language of space and time so many things will jel and insight will multiply. When you subsequently reflect on the relationships between the events that have occurred at the site of the Jordan River crossing's stone circle (Elijah and Elisha - Y'shua [same name as, Joshua: salvation] baptized by John), there will probably come a moment when the operation of a celestial stargate at an intersection of space and time is perceived on a profound level. Aaron and I cannot now imagine how the reset of time could possibly occur without the ritual Jordan crossing being a central feature.

We'll close with this example. When the city of Jericho was conquered it was by a miracle involving circles of stone. The city of Jericho had a stone wall ringing the perimeter. Call it a circumference, using the terminology of a circle. This is what receives the focus of attention as it falls flat, which is to say, level with the ground. We're presenting the bulk of the account here because it so vividly illustrates the importance of the orderly ceremonial ritual.

6 So Joshua the son of Nun called the priests and said to them, “Take up the ark of the covenant, and let seven priests carry seven trumpets of rams’ horns before the ark of the Lord.” 7 Then he said to the people, “Go forward, and march around the city, and let the armed men go on before the ark of the Lord.” 8 And it was so, that when Joshua had spoken to the people, the seven priests carrying the seven trumpets of rams’ horns before the Lord went forward and blew the trumpets; and the ark of the covenant of the Lord followed them. 9 The armed men went before the priests who blew the trumpets, and the rear guard came after the ark, while they continued to blow the trumpets. 10 But Joshua commanded the people, saying, “You shall not shout nor let your voice be heard nor let a word proceed out of your mouth, until the day I tell you, ‘Shout!’ Then you shall shout!” 11 So he had the ark of the Lord taken around the city, circling it once; then they came into the camp and spent the night in the camp. 12 Now Joshua rose early in the morning, and the priests took up the ark of the Lord. 13 The seven priests carrying the seven trumpets of rams’ horns before the ark of the Lord went on continually, and blew the trumpets; and the armed men went before them and the rear guard came after the ark of the Lord, while they continued to blow the trumpets. 14 Thus the second day they marched around the city once and returned to the camp; they did so for six days. 15 Then on the seventh day they rose early at the dawning of the day and marched around the city in the same manner seven times; only on that day they marched around the city seven times. 16 At the seventh time, when the priests blew the trumpets, Joshua said to the people, “Shout! For the Lord has given you the city.
...
20 So the people shouted, and priests blew the trumpets; and when the people heard the sound of the trumpet, the people shouted with a great shout and the wall fell down flat, so that the people went up into the city, every man straight ahead, and they took the city. ~ Joshua 6:6-16, 20

While the sovereign God can do what He wants, however He wants, He is not random in His words or deeds. We are instructed by His ways and these are orderly. The orderly ritual manifest in the conquest of Jericho was evident in the season of making entry into the promised land. The breach of the borders was miraculous, at Jericho as at the Jordan, and the nation was able to pass right through. The circles of stone involved are related.

Here's a useful exercise. If I lose you here in this geeking out - don't worry about it.

Consider an engineering or physics perspective on the dynamic of the rituals we've introduced. I made a graphic of the map of the area connecting the stone circle in Gilgal and the one in the Jordan with a figure that I mean to suggest a toroid with longitudinal waves and pulsing transverse rings with perfect spacial and temporal alignment and phasing. This pictures the lines of force of an energetic field suggested by the movement of the stones and then the addition of energy fed by the flow of the water of the Jordan over the circle of stones set by Joshua. There is potential energy of the torsion or twisting stress in the flow of time-space. With a circling of the city of Jericho one might picture all the circling around as generating a spiraling vortex like a hurricane or whirlpool of the substance of time-space. With these two energetic constructs in mind, consider the intersection of the two and their interaction. Perhaps the walls falling level with the ground was done as a result of the ritual circling around the city and in the larger context with the ritual crossing of stones and their circular arrangements. There are quantum level considerations that we know so little of.

From a magical perspective, as the agents of the Adversary's counterfeiting operations would address the situation, there is a ritual involving magic circles and cones of power, and also sympathetic magic requiring an identification with a target. Energy raised and harnessed would be released in a moment of time, to achieve the desired outcome of a changed reality.

Which is it, science or magic, that might be involved in the rituals surrounding the crossing of the Jordan and the taking of Jericho? Both, or neither? Science and magic involve the legitimate laws of the natural and supernatural or spiritual realms. While the Lord God allows the Adversary to leverage the means necessary to accomplish his purposes, even the exploitation of high tech science and magic, this favorable grant is limited to what serves His greater purposes. Yes, we repeat that a lot. It should be known that the Most High reserves for His own use that which is most precious, even those powers of creation and of the ultimate control of all that is perceived as "reality" in space and time and beyond. He knows the end from the beginning! His people yield to His will and reject the ways of magic and of pagan idolatry. Our ceremonial activities and prayers wrought through obedience link the earthly and the heavenly and make the will of the Most High a reality, to His glory.

The ceremonial rituals described in the Bible are for our instruction. There is a historical perspective that applies in the now as in the past and future. The matters of geometry and choreography are instructive through the overt spacial and temporal detail. The esoteric perspective of everything relative to the narrative is also instructive as the Lord grants favor in this season of the eye that increasingly sees and the ear that increasingly hears.

These are the kinds of things that "seal the deal" in this waning season! We continue to rejoice in the Lord's favor and marvel at His miraculous provision of the grain of salvation in this shemitah of plenty, as it continues to be stewarded toward the approaching shemitah of famine!

Google Doodle - Back to the Moon - Georges Méliès Tribute

On May 2, Google honored Georges Méliès, the director of the classic silent sci-fi film from 1902, Voyage dans la Lune. A Trip to the Moon. The high tech presentations give tribute to him as an innovator. George was a magician and illusionist, and Google's tribute follows that tradition in their customary Occult fashion. What is most notable about this production is their clever signaling of the time war and the Great Pyramid, which are related and quite relevant. This is wrapped in the usual sodomite, goddess exalting and fallen angel themes. It was released just after the Satanic Ritual Abuse (Pagan / Witch) calendar's Grand Climax and Walpurgisnacht / Roodmas Day (April 30) and Beltane / Walpurgis Day / May Day (May 1).

360 Google Doodles/Spotlight Stories: Back to the Moon



Here's their special tribute page with links to the VR presentation. Back to the Moon - Celebrating Georges Méliès

A Trip to the Moon, was the French director's most famous and influential film. We addressed some of its symbolic meaning in one of our pizzagate videos. (Pizza Esoterica Part 5 - When the Moon Hits Your Eye Like a Big Pizza Pie) Smashing Pumpkins did a take on it, as you may recall.

The video presents a classic love story and adventure. The man gives his beloved his heart and a pearl. He fights for her when an evil antagonist sidelines him and steals her away. When the lovers are victorious they go on a honeymoon. Esoteric imagery abounds, and events are synchronized with the counter.

The video is 2:10 long. That's how much TIME it plays for. The 2:10 presents an amplified time number 21. In seconds 2:10 is 60+60+10 or 130 seconds, which is an amplified 13 that signals the mastery of time. This is both the length of time of the video and a major theme.

There is some Easter-Egg-ish referencing of the Illuminati mind-control programming standard, Alice in Wonderland, because the card woman is the Queen of Hearts and the watch is a big pocket watch, like the white rabbit used. The carousel began as a device used to train warriors. It still does, as used during Illuminati mind-control programming.

@1.16, the dancing king bumps a book with his backside and it nearly falls on him. The devil head of Satan appears as the scene goes dark. A demon dressed in green is released from the book. Green is the devil's color. This book seems to suggest the Bible and the scene, a fulfillment of prophecy about the Bridegroom and the Bride. The green demon takes the prospective bride by one hand and immediately steals the hands off the clock. He ascends with her on a throne-like tower and is then challenged by the king.

Stealing the hands off the clock can be interpreted in several ways. Obviously, it makes telling time impossible. When the little sprite/spirit uses it as a sword, the demon/devil uses the clock to his advantage, using time as a weapon, in a figure. He breaks time! He fights the king, who is, in this allegory, a type of the King of Kings and the Bridegroom (sun) who loves his (moon) Bride-type. The clock hands are also a magic wand, so it's a magical time weapon.

When you consider how the hands are removed from the clock at 1:21 on the counter there are some notable interpretations.

The counter time of 1:21 might be seen as a 1:2+1 or 1:3 or 13, making an exhibit of the mastery of time.

This 1:21 might otherwise be seen as a condensed version of 12:21, or an overlapping of the time numbers 12 and 21. This is marking when the little devil steals the hands off the clock, immediately after which the counter ticks over to 1:22. Going from a 21 to a 22 signals both a new beginning and a going beyond time to a timeless state, which is just what's pictured by the now handless clock! This kind of synchronization doesn't just happen by chance. This allegorically pictures the time war Satan is waging, which is intended, in no small part, to keep the Bridegroom from His Bride. When the Bridegroom and Bride come together, that's a very, very big deal!

There are other instances where the action is synced with the meaning of the numbers on the counter. At 1.12-1.13 the King and Queen dance over across the clock, demonstrating 12-Time and 13-the Mastery of Time.

You'll notice how 3 hours are illuminated on the face of the clock, and 3 hours is 60 + 60 + 60 minutes, signaling 666 and evoking the antichrist beast and his mark (Revelation 13:18). When the devil hits the king with the clock hands-magic wand (@1:33-1:34), the man who assumed the identity of a king is re-costumed as what looks like a dragon. Who is The Dragon but Satan so, in allegory, this is how the Devil magically demonizes God in the eyes of the world. This is not unlike what 2 Thessalonians 2 prophesies about the lawless one. When the now-dragon strikes the sprite with his own magic wand the devil is transformed into a prancing cross-dresser, or trans-gendered.

At precisely 0:47 seconds, Code 47 is signaled because the scene is flooded as being drawn into the fish bowl. The play here has to do with the legend of the fish that ate the phallus of Osiris. Isis made a magical substitute and used it to impregnate herself in order to bring forth Horus. The heart that the queen held turned into a fish and swam away. The king had given this to her. The stylized heart is a symbol or romantic love and it's also anatomical. The queen shows it off as if it were a garment meant to emphasize her breasts and femininity, but it's usually a butt symbol.

At precisely 0:33 seconds, Code 33 is signaled. The band members seem to be spelling something out for us. What's a 3 letter word for Donkey? And, on that (sour) note, the playing card now has a-hole, a man hole. He emerges, enlightened, and steps onto a 6 of hearts. Watch your 6. Your heart-as-butt. There are several shades of meaning here, and a transformation into royalty is modeled as the man leaps through a playing card and assumes a new identity, as a king. The card bears 2 clubs on it and 2 signals division. Clubbed, abused and traumatized, a split personality with an alter identity, dissociated, and now illumined - SRA DID - a chosen one, elite. Magic. Ritual magic! See the Magic Pentacle on the guitar?

This speaks to us of 2 Thessalonians 2 and the dimensional breech that happens as the lawless one is revealed.

There's more time modeling in this sequence. There are 52 cards in a deck according to the number of weeks in the solar year. These are divided into suits to produce 4 x 13 or 4 quarters of the year and 13 weeks per quarter. That number 13 is a special one that signals the mastery of time, of course.

There are more spots showing during the breech because there are 2 adjacent cards in play. 6+2=8 so this signals a new beginning and the mastery of time.

As the man sets up his approach to break through the card/week he draws back by the clock. Because, yes, it's about time and breaking through the dimensional barrier.

There is an abundance of goddess exalting imagery. Any tribute to Voyage dans la Lune inherently gives tribute to the goddess because the celestial and moon goddess is openly featured in that classic. Google's version gives special tribute in the way of the Occult. When she goes to the moon as if on her honeymoon she is the moon goddess and the "honey" goddess, the bee goddess Melissa, Inanna-Ishtar. The stylized heart is the same figure that is continually being drawn in the sky by Venus. The Queen of Heaven. The Goddess of Love. The ancient Queen of Hearts. When the scene floods, she is transformed into a mermaid, as Stella Maris, star of the sea. When she is on the tower, the golden design resembles the bull, Hathor - the dairy queen. The king lifted the stylized heart off the 6 of hearts card. If each card in the deck is a week, the 6th day is Friday, the day named for Freya, the goddess. The dress worn by the queen of hearts has decorative panels that bear 6 hearts per panel, repeating that number resonating her day. In total she has 2x6 or 12 hearts, as a time goddess and also evoking Revelation 12:1 and the sign of the woman clothed with the sun, with the moon beneath her feet and a crown of 12 stars on her head.

There is an abundance of fallen angel imagery because shooting stars and falling stars are falling angels, because stars are angels in metaphor.

There's plenty of sodomy or ritual sodomy symbolism. Watch for the crescent moon resting on a trunk. Moon as a mooning butt. Trunk-as-butt, like the trunk of your car. Featured heart-as-butt. The title, Back to the Moon - Back-as-butt and Moon-as-butt. The title is arranged to present BM - Bowel Movement. Coprophagia - partner with ritual sodomy and trauma inducement. When the head of Satan appears, look for the familiar one-eye symbolism. The devil's anus. When the rocket is stuck into the moon's eye it is a phallus stuck into the one eye-Horus eye sodomite gag.

When they show us the lamp for the spotlight image it is truncated and modeling the great pyramid and the glowing eye above the pyramid like on the Great Seal of the USA. It reminds me of this logo for the Instituto de Estudos Orientais. (Eh - maybe don't sit down or bend over there.) It's the lamp light of the illuminating Horus Eye activated through ritual sodomy.

We see in this beaming light imagery the falling stars as angels descending from heaven on Mount Hermon, as per Enoch. Some ancient texts use the same words for, pyramid, and, mountain.

To see this spotlight imagery as modeling the great pyramid in the context of the devil wielding time as a weapon, with all the other esoteric signaling of the mastery of time and the breaching of dimensions and the use of magic and the attempt to keep the Bridegroom from the Bride - this speaks to us as very relevant indeed! Google knows what's going on and they are spilling the beans. But, it should be understood that it's what they don't know, in their arrogance, that's going to bring the rebels to their defeat. The true Lord of Time has a plan, and He is patiently working it out. Y'shua can't be beat!