Hollywood's Satanic Agenda (26): Monsters, Inc.

Anyone who has children should be very disturbed by the end of this report on the 2001 Disney/Pixar feature Monsters, Inc. This one is pure occult indoctrination for the highly impressionable children. To put it simply, the monsters here are analagous to demons; and what is being propagated here is a shift in perception: at the start of the film the monsters are scary, but by the end they are friendly--and welcomed. Ergo, the highly impressionable child viewers are conditioned into an acceptance of these spiritual entities.

This kind of propaganda is nothing new. In Johanna Michaelson's New Age expose Like Lambs to the Slaughter, she writes:

"Undoubtedly one of the most outrageous and dangerous religious practices taking place in a growing number of public schools today is the introduction of the children to spirit guides. 'Of course,' says Dr. Beverly Gaylean, 'we don't call them that in the public schools. We call them imaginary guides.

"Euphemisms abound when dealing with the subject of spirit guides! Sometimes you'll hear them called 'wise person' or 'counselors' or 'archetypal manifestations.' Perhaps they'll be referred to as your 'Higher self,' 'Divine Master,' 'Inner Guide,' 'Inner Wisdom,' 'Transpersonal self,' 'Ally,' 'Imaginary Doctor,' or even 'Guardian Angel.' Some Satanists call them 'Sentinels.' If you're dealing with a really sophisticated occultist you might find them referred to as 'etheric world intelligences.' Philosopher and 'sacred' psychologist Jean Houston calls them '"goddings of the depths of the psyche".' Nevertheless, whatever the label, what we're talking about here are spirit guides." (pp. 127-128)

Michaelson's book was published in 1989 but is still essential reading for anyone who wants to understand the New Age deception; the only thing that will surprise you after reading this book is how much things have progressed and how quickly.


The film begins with a monster sneaking up on a child in bed and scaring him. But we suddenly find that it's not a real boy, only a robot and this is only a training session for new monsters at the company.

Then we meet the founder and President of Monsters, Inc., Henry J. Waternoose, who provides the basic premise of the film for the audience: "There's nothing more toxic or deadly than a human child. A single touch could kill you. Leave a door open and a child could walk right into this factory, right into the monster world."

Notice the name Waternoose: noose = device used to strangle. Water + noose is the equivalent of drowning. This name indicates that we are in Great Flood/Nephilim thematic territory once again.

The monsters access the human world via "doors" that connect the monster world with a child's bedroom closet. The monsters enter the human world, scare the children, and harvest the screams into canisters which then fuel the monster world.

Waternoose says, "Without screams we have no power."

This is truly a bizarre premise for children's entertainment. Right from the start they are told that they are toxic and mere human resources for the spiritual entities. These screams are fear, or energy, which is being harvested; so we could rephrase Waternoose's statement like this: "Their fear gives us power."

Now, any sentient citizen knows that the media's main purpose, aside from keeping us uninformed, is to keep the herd in a constant state of anxiety. Why? Because living in fear keeps you cowering and reacting rather than acting. Living in fear keeps you powerless.


The two protagonists are James Sullivan and Mike Wazowski. We see that one is a large Sasquatch type, the other a cyclops. Taken together we have a symbol for the Cyclops, the primordial race of giants from Greek mythology. These giants we would correlate with the Nephilim of the Book of Genesis--the offspring of the sons of God (spiritual beings). This one-eye symbol is repeated throughout the film, the symbol of the supposed Illuminati, or enlightened ones.


Here's the Monsters, Inc., factory. This factory has a very close resemblance to a temple--it even resembles an actual temple somewhere in the US, only we can't remember which one; if the reader recognizes it, feel free to comment.


Notice how the Monsters logo encompasses an M with sloped sides (a pyramid), an eye, and the Egyptian symbol for the sun. So what we're looking at is really a reconfiguration of this:


It becomes clear at this point that what we're looking at is a temple of the gods, the enlightened ones.


Hardly a scene goes by in the film that does not contain this symbol; it's on the walls, on clipboards, in advertising, on helmets, everywhere. Referring back to our recent post Operation Mind Control we would consider this symbol repetition an unconscious anchor; that is, when a concept is introduced by the propagandist, it is accompanied by a symbol so that when the symbol is recalled, so then is the concept. It is in this way strengthened over time. And what is the concept here? Demons are good.

Notice hour the MI of the company name becomes M Eye in the symbol. How often do we see this eye symbol in everyday society?


As the monsters enter the factory and head to work, we see a 9-11 reference on the clock. This film was released in November 2001, but this was obviously produced long before that.


Here are the doors. Notice that they are freestanding; these are inter-dimensional gateways. These enlightened ones possess the technology to enter our world--as described in several places within the Bible.

The yellow canister located on the side of the door mechanism contains the harvested screams.


Sully and Mike are the top scream team.


But a problem arises when a little girl hangs on to Sully's tail and enters the monster world.


The plot from here on is pretty thin, consisting mainly of Sully and Mike trying to return the girl, Boo, to her door. The most significant thing occurring here is that Sully and Boo form an emotional attachment--also hearkening back to the creation of the Nephilim.


Back in the factory Mike and Sully stumble upon a plot to kidnap children and subject them to the "scream extractor."


We soon learn that Waternoose is in cahoots with the kidnapping plot. He later banishes them to Nepal. This report won't deal with the issue, but it's interesting that these two are banished to the Himalayas as it was on the high mountains that the legendary "gods" supposedly set foot on earth.


They eventually make it back to the monster world and trick Waternoose into implicating himself in the kidnapping plot. He shouts, "I'll kidnap a thousand children before I let this company die."

Waternoose is then arrested by the Child Detection Agency (an allusion to the CDC, which reiterates the toxic child motif )--but not for kidnapping per se; his crime is bringing the toxic children into the monster world.


Boo is returned to her bedroom, and her door is destroyed. Consider for a moment how disturbing it is to be invading these children's lives in their bedrooms at night.


In the end, Monsters, Inc. begins harvesting laughter rather than screams. The monsters begin doing stand-up comedy for the children as it turns out that laughter is ten times more powerful than the screams were and their energy crisis has ended.

This is a deceptive "happy ending." The viewer should notice that the monsters are still harvesting the energy of the human children, so that has not changed. They are still human resources, the only difference is that the children are no longer afraid, and they welcome the monsters. As can be seen in the above shot, it's like a big party.

Compare this shift in perception to the recent vampire fad: vampires, who also steal a resource from humans, used to be scary. Vampires these days are cool, young, and romantic. Also recall the recent Will Smith film Hancock: he begins as a bad superhero, angel, or god. Hancock is taken on by a public relations agent who transforms his image into a good superhero. The same thing is happening here in Monsters, Inc., it is simply a PR campaign for demonic entities.

Eric Buehrer, in his book The New Age Masquerade, wrote of the need for the acceptance of these spirit guides:

"New Agers involved with contacting spirit guides believe that guides are essential for ushering in the new age of global consciousness. Shakti Gawain, in her book Creative Visualization, devotes a chapter to meeting your spirit guide. After a person achieves a meditative state, he is to look for a "being." "Greet this being," she writes. "Ask your guide if there is anything he or she would like to say to you, or any advice to give you at the moment." Gawain's book appears in several bibliographies for guided imagery programs used in several public schools." (p.93)

Is it any wonder than that witchcraft and the occult has seen such a massive resurgence with youths in the United States? This is all prep-work for the satanic New World Order.