Interstellar, the movie: representing Freemasonic lore to an unsuspecting audience

Back in the day, when the likes of Charlton Heston appeared in a film about population reduction, forced scarcity and two-tier segregated social order of the very rich and powerful and then everyone else, then there was a good chance that a film was sending its audience an unmistakable message. Back in the day, such a film as “Soylent Green” was clearly a warning against corporate-government socialism of the very same sort that exists today in the UK. Back in the day, people in the English speaking world knew what socialism looked like. (The reader must excuse this piece going against its own flow – and right at its start too – but the point must be belaboured for those who think that Britain suffers from capitalism and that the remedy is socialism. The UK has a form of communism whereby corporations operate, or monopolise, some of the centralised functions specified in the 10 planks. Call it crony capitalism, or corporate cronyism – or even fascism – it is still all socialism by another name).

On the other hand, a film like “2001, a Space Odyssey”, was meant to go over the general audience’s head because it was messaging to a different recipient. It wasn’t appealing to an appreciation in some of film as Modern Art (i.e. the cinematic equivalent of a pile of bricks on a gallery floor). It was sending a message that certain people were very firmly in charge of the future evolutionary development of man (as they see it, of course) – which means that it was sending a message that certain people were firmly in charge of government. Now, this information about who is in charge might have been signalled in other films, because Hollywood has always been a propaganda factory, such as “The Network” when Howard Beale is warned off by a corporate honcho from (to paraphrase) “messing with the forces of nature”, but it has never been conveyed quite so purely as “2001” because in that film, if we recognise it, we are retold Freemasonic luciferian mythology and reminded of the cosmology from which human development will take a certain assumed direction.

Unknown to the masses who partake in modern cinema, people are routinely inculcated in this desired human development as they watch, for it is surreptitiously, and sometimes less covertly, promoted in the medium of film. (Of course, TV is the actual routine means by which people are programmed to accept development that they should, if they were in their right minds, resist with all their might – but they aren’t in their right mind; just look at the uniform reluctance to stop paying the TV tax). Hollywood, these days, definitely produces more inculcation than it does horrifying warning – and it rarely produces the sort of pure message that constitutes “2001”. However, “Interstellar” (2014), is a film like it on one dimension – that’s why cinema goers were rendered puzzled by it. On another level, it also provides indoctrination about the Freemasonic luciferian progress for man because it gives an explanation for why it must happen. It is the perfect New World Order film, then.

The key to understanding “Interstellar” is comprehending what has happened to the food. Meat is already a thing of the past, and the crop is dying out… but why? A blight has attacked every variety so that when the film starts only corn is viable. What appears to have happened is that the blight provokes farmers to burn the crop in the fields, thus each year there is a smaller harvest. At the start of the film the last of the okra is being burnt. The corn too is somehow dying, we are told, and this gives the impression of genetic weakening from generation to generation.

However, when NASA establishes a space station at the end of the film there are no fears for the abundant crop of corn that somehow grows straight upwards from fields that form the curved interior walls of the station (with the sun peaking in from one end of what is effectively a tube). This hardy performance suggests that there is nothing genetically wrong with the food crop after all, and that it has not become inherently susceptible to infestation or plain underperformance. The attentive viewer starts to suspect that the blight has come about by the environment, especially because the skies are mostly white-grey and look like they have suffered weather modification. Or, and the clues exist to suggest it, that the crop that had been failing on Earth had been modified to do so, with the stuff growing on the space station being the genetically-vanilla version.

Let’s, at this point, look at some real life related facts that we need to have in order to understand what “Interstellar” is conditioning its audience for. First there is the fact of the matter of how persistent contrails turn into vast blankets of sunshine-blocking clouds, and are always, without fail, a precursor to wet weather. Chemtrails, as they are called, cause conditions that damage the prospects of plants. Research in California by Rosalind Peterson has borne this out to be true. Secondly, genetic modification of plants is a reality so that a generation of seeds can produce another generation that can’t germinate – they aren’t heirloom. This is already all about controlling food production capability. Additionally – and this is definitely related to the issue of control – there is apparently a need, felt by whomsoever it is can afford it, thinks it necessary and has the access to do it (nebulously described as world governments in the media), to keep a bank of original, heirloom seed in stores at the Artic – “to guarantee against global warming” (paraphrasing). Although on first encountering this idea it appears to be a fable, but it is quite true.

The forced scarcity in “Interstellar” is something that is already happening in real life. And where is it headed? Well, in the film there is plenty of evidence that the Earth has been depopulated. The main protagonist, Coop, gives an indication as to what size humanity has shrunk to when he talks of the “millions of families” on Earth. If Coop’s own family is anything to go by, where his own wife had died through a lack of medicine, and his father-in-law is also widowed, families are being pared down and not getting bigger – Coop only produced two children himself.  Three children would have indicated a growing population. And so families are small – consisting of about 4 people, perhaps? And when Coop says “millions”, technically he could be talking about 2 – although it would be odd to refer to 2 million as “millions”. The least that a million in the plural form could represent is 3 million. But let’s call it 10, or even 50. That would mean the Earth only had 40 to 100 million people on it. Note, the Georgia Guidestones, commissioned by someone going under the pseudonym, R.C. Christian (this could very well be referring to Christian Rosenkreuz – a figure historically connected with a Mystery School sect, the Rosacrucians (most easily explained as coming from the same place as Freemasonry)), commands that the population of the Earth should be kept below 500 million.

The film throws a red herring in the path of the audience by hinting of a war, and some might assume that Coop had played a role himself because he knows, technically, about combat droids. But Coop was a NASA test pilot, and the only soldiers referred to are robots – indicating that any conflict involved robots, not humans, to prosecute it. Could the war have happened after the depopulation – or in fact, more sinisterly, could the robots have been used as weapons against humans? A clue occurs in a conversation between the NASA honcho, Professor Brand, and Coop. During a time of troubles, NASA had refused to drop bombs on “starving people from the stratosphere”. One is reminded of the “peace bombs” from a film, “Things to Come”, that was made a long time before “Interstellar”, but basically tells the same Freemasonic tale. In actual fact, we are told that NASA’s robots are what the government can spare – so maybe the depopulation war is automatic and ongoing at the time we join the film – at least in other parts of the world. Indeed, Coop brings down a wayward Indian drone justifying it by saying that its controlling facility was long gone. But did it need one?

By the end of the film we discover that Brand, true to NASA form, is a bold-faced liar, and so it is quite possible that NASA did help to spread love and peace by exterminating a good deal of the population of the Earth (he also tells a story of NASA having been abolished for its refusal – and yet it obviously survived): “is a lion evil because it rips a gazelle to shreds?” asks Brand’s daughter of Coop, and this indicates the sentiment from which the elite gives itself a right to kill its prey. In fact, in the end, NASA’s involvement is one detail – it looks very much as if world governments came together to brutally put down a resistance that had been provoked by mass starvation caused by forced scarcity. And why shouldn’t we suspect that this event was the transformative one that the western ruling class are always looking for to form a World Government? A good clue is how there are no flags in “Interstellar” – meaning that none are blatantly obvious until we meet NASA. The one at school which Coop’s children attend – where teachers refer to an “old federal textbook”, suggesting that it is the US federation that is antiquated – hangs limply from a flagpole in the background. There aren’t any flags at the baseball game. However, NASA does use the Stars and Stripes (and very boldly too) and this is clearly a reference to the pan-Masonic belief of the destiny of America, and reminds that the formation of America never had anything to do with the rights of man.

Naturally, the previous paragraph must lead to a discussion of the elite – the real Americans – who have engineered the social situation in “Interstellar”. The reader is asked to notice the talking heads that introduce the film – talking about the terrible amounts of dust caused, presumably, by wind erosion of empty fields. All of these are white people. Additionally, all the people in the crowd at the baseball match are white. There is a black teacher at the school, and there are two black men in NASA. The only latino features as a player on the NY Yankees baseball team.

It appears that people who are not white survive in America if they are useful to it with jobs to do according to expectations formed through prejudice. This confirms to us what we already know: the Western ruling elite are terrible racists (and, pretending to be all for diversity, accuse decent people of their own trait, and use it to stir tension as a tool of control). Furthermore, at the time we join “Interstellar”, they have managed to achieve another long-held ambition of cutting away the middle class, so it’s just them and the workers, and a non navigable chasm between. This truth manifests in the following ways.

Firstly, it appears that there aren’t enough people for excellence to flourish. The NY Yankees find themselves playing in provincial rural areas, in small, barely-filled stadia. Coop’s father-in-law complains that “no one can play baseball” like they did before. But this perhaps isn’t the truth of it. It’s that there just isn’t enough of a pool from which excellent talent can emerge – this would be true in all fields of life. And in fact, if it did emerge, it wouldn’t amount to anything. Examine the case of Coop’s son, Tom, who eventually comes second in his class (and perhaps would have come first if a particular teacher hadn’t given him lower grades – suggesting deliberate manipulation to effect an outcome). Tom’s teachers tell Coop that he wouldn’t be allowed to go to university, and instead will have to become a farmer.

Clearly what is happening here is that the crop problem is being used as an excuse to keep talent out of the highest strata of society, as manpower is diverted into farming. This means that there is a shortage of engineers, and a shortage of tech-manufacturers, and thus a shortage of certain equipment: we find that Coop’s wife died for the want of an MRI scan. And yet we also know that NASA, which Brand’s daughter calls “the best of humanity”, has advanced life-saving equipment. There clearly is a them-and-us divide in society. Furthermore, it’s not just that university is for the purpose of safeguarding the position of an elite; there is cause to be suspicious that NASA is in fact “university”. This is where Murphy, Coop’s daughter, is recruited to to continue her education (but it’s quite possible that Murphy, despite her intelligence, wouldn’t have received this benediction if it weren’t for the importance of her presence at NASA to the storyline). We also discover that it is NASA who are looking into the blight problem – its facility contains wilting plant samples. So NASA is dealing with the scientific issues that are of the most important to the ruling elite bar none. And in a big and sick twist it appears that the farming people are paying for the end of social mobility through their taxes. Coop asks what he is getting for his own payments when he is told that his son can’t go to university. The reply he receives is that taxes don’t fund universities. This must be a lie to justify barring talented farming class from the upper echelons. The Western ruling elite that is portrayed as the top dog class in “Interstellar” pay for nothing if they can get the slaves to do it. And ultimately, no funding isn’t true of the NASA “university”. We are told that NASA had its public funding stopped – and yet it still survives.

And so to the question – what is it all for? What is the elite up to in “Interstellar” that they have engineered their own exclusivity, massive depopulation and the creation of a farming class lower order, and then finally the death of the planet? There are plenty of clues in the dialogue between characters: “we’re meant to leave the world” says Brand to Coop. Man has a “place in the stars”, says someone else, and man was “never meant to die on Earth”. What all this betrays is the Freemasonic/Mystery School belief system that gods populate the stars. This is both about the social-controlling myth of a pantheon of gods, later updated with saints, which dictates the fate of the masses, and also at the same time an aspect of the big lie at the centre of the Mystery Babylon religion: that a man can become a god.

Into the 20th and 21st centuries, and the signs are that the Western ruling elite have started to hope that technology can make their mad fantasy real. “2001, a Space Odyssey” was all about man becoming god through technology, and in “Things to Come” getting to space at any cost is seen as the pinnacle of the development of mankind. “Interstellar”, too, is about man becoming god through technology. Coop accesses a multi-dimensional phenomenon – supposedly built by humans who became a technical super-species in the future – to create a leap forward in human scientific development. In this respect, the Tesseract that Coop encounters is like the monolith in “2001”. Putting aside the writing problem whereby the chicken exists fully formed before the egg it hatches from, what you have here is a classic Freemasonic Hiram Abiff scenario. Coop passes through the Molten Sea to become reborn in the future. While the temple builder became Lazarus, Coop – already comparatively immortal thanks to the effects of Einstein’s physics (which all space “science” is based on) – eventually takes his place in the stars with Brand’s daughter. Indeed, there is a church of Coop on the space station – itself named after Murphy – a recreation of his farmhouse where those talking heads mentioned above appear on TV screens to tell of the hell on Earth that mankind – what very little left there is of it – has escaped. But it is actually Murphy who is revered for her part in the the escape from “hell”. She is the saviour, and she is also the daughter, not the son, of god.

Also well worth noting is that the operation to find an inhabitable planet is called the “Lazarus Missions” – which reinforces the association between Coop and Hiram Abiff. Not surprisingly there were 12 astronauts who were sent on this mission, led by a chief scientist by the name of Mann. It’s entirely no surprise that Mann turns out to be a liar, coward and a murderer; we are meant to associate this behaviour with his name. That he is one amongst 12 tells us that he is meant to represent Scorpio in the zodiac (Judas in the Christ story). Now, Scorpio killed Orion, the same as Seth killed Osiris (and Judas killed the Christ – not the same thing as you think it is in the context of Freemasonic lore) which makes Mann representative of the mass of humanity that the elite hate because of how they always pose a threat to their ambitions. Of course, the masses of mankind are portrayed as being thuggish and brutal, but this is projection. It is the elite who are inhuman and monstrous. After all, according to Freemasonic lore, Hiram Abiff is the means by which the “sons of Cain” are reconciled to the “sons of Adam” and humanity is unified and both have moved into a new religion, with the sons of Adam leaving their god behind – i.e. God. The new religion, of course, is man as god. And the sons of the murderer somehow just have to be accommodated as if they didn’t have blood on their hands; this is why compromise with Luciferians always actually means submission.

“Interstellar” is a film that signals to its audience a message regarding who is in charge of their affairs, and indeed what those “gods” are going to do with them. We, the audience, are not meant to see the challenge presented to us, but we are just meant to accept our fate. We caused it, after all, the ruling elite will tell us – and they do tell us. Humans cause global warming, we are told. Humans cause devastating wars, we are told. Humans cause starvation and crippling and murderous poverty, we are told. It’s all lies. These things are caused by an ambitious and callous few who think they are morally (in their scheme) compelled to engineer events, no matter how hideous, to further their goals. They don’t like it when we can see them engaged in their wickedness as they process their catastrophes – look upwards and see the very long trails of cloud that expand to cover miles of sky blocking out sunlight over tracts of land, and know what is coming next, and who is doing it. That is why “Interstellar” is an unintended warning to those who aren’t meant to see it, but who do; those who can’t be inculcated by the message as is the intention. And the surprising thing about “Interstellar” is that it isn’t really about space. The space travel is a metaphor for the victory of the luciferian elite over the “dangerous” masses: a victory defined by their exclusivity, their wealth, their separateness, their right to rule eternally, and on the other hand the death of their enemy.