Published On: Fri, Sep 15th, 2017

Analysis of “Things to Come”; Part Two: From the same place as “Interstellar”

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This article is a follow up to

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

Analysis of “Things to Come”, Part One: Mystery Babylon does all the war (link)

 

HG Wells’ “The Shape of Things to Come” is a history that appears in dreams to a character introduced in the preface of the book. The relationship between Raven, who thinks he has read a history from the future, and an editor character, known by his initials HGW, and who is presenting the material, perhaps should make the reader think of Wells’ own mentorship by TH Huxley, the eugenicist and “Darwin’s bulldog” – and the grandfather of Aldous and Julian Huxley. The book, then, should perhaps be seen as a manifesto for social development coming out of the powerful Victorian school of Darwinism (the term coined by TH Huxley). Apparently we aren’t meant to call Darwinism socialism because ideology is not meant to stray into the realms of science – but that’s assuming that Evolution is scientific. And when we look at this through the lens of Mystery School religion, that Social Darwinism could be extrapolated from Darwinism is perfectly reasonable. Through the lens of the Mystery School religion, both Darwinism and Social Darwinism are quite clearly central to the manifesto that is “The Shape of Things to Come” – which is totally concerned with social engineering the world into subjectivity to a global government.

“The Shape of Things to Come” sees human development in terms of creating a biological unity where humans contribute according to their abilities and where a ruling class is the brain of the organism (of course, underneath all the fine words is the concern that an elite remains at the top of the pile irrespective of its ability). This incorporates the Malthusian notion of the “useless eater” and the elimination of certain classes of people who make the unified organism inefficient – which would be an exercise that would have a racial aspect because of the Victorian view of coloured people who hadn’t benefitted from the same culture that had chiefly made the British the world’s “super race” (ironically, this culture wasn’t the Platonic collectivism at the core of Victorian ideas of utopia – more about that in a moment).

Secondly, “The Shape of Things to Come” understands the requirement for human survival to be social, and related to a collectivised effort in response to perpetual struggle. In other words, the human race is like an animal that evolves by surviving – all very Darwinian. Moreover, human survival needs continual progress:

Human society… is obliged to raise its standards of consumption and extend its activities year by year, or collapse.

Again, the delusion of the Victorian eugenicist is huge, but actually the dishonesty is not in ignorance. In his “Republic”, Plato fudged the issue of how children of the elite could be demoted to lower classes, and this would speak to the concern that a ruling class which no longer deserves to rule would have about staying in power. The Darwinian utopia uses perpetual progress to disorient and discombobulate the population that is subject to it – so there are no reference points; nothing remains to show that actually some things were better in the past, and therefore there are reasons to rebel against the leadership of society. Indeed, what we can’t help to notice about “Things to Come” is that the same families and cronies stay in power. Moreover, generally we can say that science and technology is a product of the Renaissance, which in turn can have this said about it: at its core was the rediscovery of Aristotlean individualism. The new Aristotlean culture in republican Italy and then in other parts of Europe (notably republican England – the constitutional monarchy, properly used, is a form of republicanism) gave rise to an age of reason, and brought whole countries of people out of the control of the collectivist, medieval Catholic Church, itself a Mystery political system. History would suggest that great scientific and technological advances do not happen in collectivised societies. Wells’ central idea that humanity as an organic body can progress technologically is a fallacy.

In Hermeticism, which is another name for the Mystery Religion, progress is closely related to the continued beautification of the universe; in reality, at a very basic level, this translates into building statements of authority that the ruling class use to impress the masses – i.e. pyramids. In turn, the subjects of this rule are made to understand that their effort is crucial to making the world keep turning, and therefore are willing to be dominated for the common purpose. This is the essence of Wells’ progress.

The evolutionary struggle is also an expression of the alchemical spiritual development that is central to Hermeticism. In “The Shape of Things to Come” war and disease wipe out swathes of the world’s population, and from this comes a New World Order – a global state. Therefore, the alchemical process of reducing a substance by fire to produce something that is more refined is being represented in the depopulation aspect of eugenics. When we have this information, we can understand that Darwinism is scientific only in the sense that it is an expression of Hermetic technocracy – meaning it is not scientific. Indeed, evolution was understood before Darwin in Hermeticism because of how it was believed certain men could evolve into gods through the spiritual alchemy. Animals turning into men is a downwards extension of this belief.

The film version of Wells’ book, “Things to Come”, and the more modern Hollywood blockbuster, “Interstellar” both have this alchemical progress at their core – telling us that although they were made 80 years apart, the same people who were directing the destiny of the West back in the 1930s are the same people who are doing it now. Indeed, in the older film, there is direct reference to who these people are: a globalist organisation which doesn’t “approve of independent sovereign states” and which is described by a character called John Cabal (whose descendent becomes the “Air Dictator” in a future society that looks like imperial Rome) as the “Freemasonry of Science” and a “Brotherhood of Efficiency” – and which ultimately takes advantage of the chaos. Notice the continued lying insistence on the collectivised human organism having anything to do with good governance and enlightenment – the important words to register are “Freemasonry” and “Brotherhood”.

In both films there is depopulation through weapons of war. In “Things to Come” the assumption is that there is a war between foreign powers, and this would be reasonable because the book states it. However, in the film the war is framed in such a way that we can suspect it to be a war by a government on its people, rather like Julia in Orwell’s “Nineteen Eighty Four”, who thinks that the conflict that Oceania is endlessly involved in is in fact a huge deception: “The rocket bombs which fell daily on London were probably fired by the Government of Oceania itself, ‘just to keep people frightened’”. In the 1930s, very few people would have been able to see this possibility in the film. Post 9/11, it becomes more obvious. And because the sense of a false flag war is evident in the film, we perhaps can conclude that we are seeing in-the-know messaging about who ultimately would be responsible for the second world war that the film is predicting (easy to do if it is planned as an alchemical reduction for the entire planet).

Furthermore, when the war starts in “Things to Come”, there is no declaration. All of a sudden a mysterious aircraft is bombing some location in the town. The bombing of civilians is immediate – not something that develops as a strategy. Soldiers turn up in the town centre and with loud hailers (mirroring British Army psyop techniques) to start terrorising the people. Bombs fall soon after. The extent of the devastation is hinted at by pictures of hundreds of planes coming over the southern white cliffs of England. However, the enemy is never named, although, intriguingly, the following is what a radio announcer has to say about the first unprovoked attack: “we don’t know who it is, but there’s not much doubt about who did it”. To modern ears this is shockingly familiar. There was a similar spirit not very long after 9/11 when the “approximate” culprits were known. Whenever a terror attack happened thereafter, people have become familiar with politicians and corporate-media immediately insinuating that the assault is the work of Muslim terrorists.

The last signal that makes an alert viewer appreciate there is a false flag feel to what is most definitely portrayed as a war against civilians in “Things to Come” is a handbill posted on a piece of barbed wire towards the end of the war (it endures from 1940 to 1966): “enemy near breaking point and defeated on land on sea”. Despite this, the enemy still has positions from which to launch air raids – and to bomb with chemical weapons in a seemingly last ditch effort to murder a civilian population.

The chemical weapon produces a disease called the “Wandering Sickness” that makes its victims suddenly get up from their death beds and roam aimlessly, as if sleepwalking. The community living amongst the rubble take to shooting these disease victims out of fear of contagion. There is something very significant about the portrayal of this phenomenon in the film because of how victims of the disease look to a modern viewer like a zombie. In modern films involving depopulation, zombies represent a portion of humanity that it is ok to kill, because they are no longer people. In other words, human beings become dehumanised by being portrayed as being a zombie, and also a threat that cannot be reasoned with. For the survival of the species, pity cannot be bestowed upon them.

Whereas false flag democide coded into the 1930s film, “Things to Come”, just would not be recognised by its contemporary audience, a good portion of a 21st century viewership would identify it and understand what a film treating the subject was speaking to them about. This is why in “Interstellar”, the fact that government kills its own people has to be heavily disguised. In “Interstellar”, the clues tell us that there must have been an overt war against starved populations – which may even be ongoing as the film starts – because of the threat that they pose (see the first article in the list above). What both films express is the eugenics of Social Darwinism, the reduction of alchemy, and the struggle required for evolution. Of course, none of this is natural. It is all engineered. It must be reiterated that the huge perversion inherent in Victorian social engineering as expressed in both films is that if it didn’t happen (meaning in real history – thus far in the form of world wars, the Inclosure Acts, the Oxford Movement, etc) a degenerate ruling class (see Lord Randolph Churchill) that had as yet been able to dominate through cunning and criminality would eventually have been out-competed and turned into “useless eaters” by a gentrified middle class that had begun developing in the proceeding Georgian era.

Common to both films is the goal of space travel. In “Interstellar” it stands for the survival of the collective: “think not as individuals but as a species” says Professor Brand. But actually it especially represents the development of the “brain” of the species – the ruling class – into super-human status; or into godhood as per the Luciferian/Hermetic/Mystery School belief system. In “Things to Come” space travel is something that mankind must do to continue evolving – and this is explicit in the treatment. Now, it should come as no surprise that space travel was a subject fantasised about much more by Victorians than by any other people of any preceding epoch. What we might not understand on this chronological side of the obsession is that space travel has always been about the symbolism of Luciferian godhood. The promise of it informs the masses that there are people who are much cleverer than they are – a class of people who will go places that normal folk cannot even imagine. It suggests a super-human class. It represents the hidden idea that the ruling class will become as gods through Luciferian evolution – so it is extremely useful because it exoterically demonstrates the superiority of the ruling class. Of course, the development of space travel counts as Hermetic beautification of the universe – which the masses support through taxes. In “Things to Come” there is actually sacrifice in life when the “space gun” is fired while a revolt, which becomes collateral damage, is trying to destroy it. In “Interstellar” the human sacrifice is more generational – but in both cases it is quite in keeping with what a Hermetic elite expects of the masses it rules over.

In simple terms, space travel is a tower of Babel (nothing exemplifies this more than the Apollo mission rockets) – a pretence that chosen men can indeed take their places in the stars: a hoax for the purposes of exerting control. There isn’t a class a people whose destiny is to take their place in the stars. It can’t be done actually, and to do it metaphorically is just self-annointment to rule regardless or not of any real authority – and this is why the likes of Walt Disney have to resort to having their heads cryogenically frozen in the hope that some technology will come along to resurrect them. They are still, and already dead.

Thus the portrayal of space travel in “Interstellar” is exactly for the same purpose of the space travel in “Things to Come”; both show the symbolism of the belief system of the people who control society, and therefore control the movie industry through which they can baptise large populations with conditioning – it doesn’t matter if this audience doesn’t understand the signalling, in fact it is better that they receive it on a emotional level. The previous discussion of “Interstellar” at this site deals with what that signalling is: a retelling of Freemasonic lore, and to inject an expectation of global catastrophe (engineered by the elite – but the audience isn’t told that) that justifies their probable extermination. “Interstellar” and “Things to Come” both serve to train their viewership into perceiving that it has a sacrifice to make for a common purpose – for the “beautification of the universe” to keep its wheels turning – for the survival of the efficient human collective, the political scheme that maintains it, and the evolution of the “brain” of that organism.

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