Hollywood's Satanic Agenda (29): City of Angels

In the same fashion that the film Legion made a hero of the fallen angel, 1998's City of Angels literally romanticizes their fall from Heaven. The film's play on the phrase falling in love is so fitting here that the viewer is forced to wonder if this is its origin:

"When men began to increase in number on the earth and daughters were born to them, the sons of God saw that the daughters of men were beautiful, and they married any of them they chose." (Genesis 6)

This notion of romanticizing the fall is more problematic than the reader my first think. To understand why, we have to recap the process of unconscious associations. Recall Pavlov's drooling dogs:

While Ivan Pavlov worked to unveil the secrets of the digestive system, he also studied what signals triggered related phenomena, such as the secretion of saliva. When a dog encounters food, saliva starts to pour from the salivary glands located in the back of its oral cavity. This saliva is needed in order to make the food easier to swallow. The fluid also contains enzymes that break down certain compounds in the food. In humans, for example, saliva contains the enzyme amylase, an effective processor of starch.

Pavlov became interested in studying reflexes when he saw that the dogs drooled without the proper stimulus. Although no food was in sight, their saliva still dribbled. It turned out that the dogs were reacting to lab coats. Every time the dogs were served food, the person who served the food was wearing a lab coat. Therefore, the dogs reacted as if food was on its way whenever they saw a lab coat.

In a series of experiments, Pavlov then tried to figure out how these phenomena were linked. For example, he struck a bell when the dogs were fed. If the bell was sounded in close association with their meal, the dogs learnt to associate the sound of the bell with food. After a while, at the mere sound of the bell, they responded by drooling.

City of Angels offers two main stimuli: romance, generally considered a positive thing, and the falling of angels, traditionally considered a negative thing by most. Splicing the two stimuli would typically produce one of three results: A) the positive would become negative, B) the negative would become positive, or C) they would achieve a neutral equilibrium.

Considering that romance is a here and now emotion for most of us, it is something we understand to some degree, and an emotion constantly reinforced in media, and contrasting that with the falling of angels from Heaven, an abstract notion for us, distant and remote, we can be confident that the result of this film's reflex association will result in B) the negative stimuli will take on a positive connotation.


The film opens with an angel, Seth, leading a dying child into the afterlife.


Seth and his fellow angel Cassiel preside over the city of Los Angeles. Here they wonder about being human and experiencing all their pleasures. Throughout the film the attentive viewer will notice an undercurrent of dissatisfaction with the heavens and a glamorization of earthly pleasures.

Our angel/protagonist's name, Seth, seems to be some kind of wink and nod. Regarding the "sons of God" in Genesis 6, there are three schools of thought--on which a rather concise for and against argument can be found here. Basically, those who don't believe the sons of God were angels believe they were the sons of Seth, the third son of Adam.

Aside from no corroborating verses or rational explanation as to why Seth would be referred to as "God," this guy is definitely not a son of Adam.


The L.A. angelic crew meets daily at sunrise and sunset to witness the sun and to listen to the majesty of His Heavenly music.

However, as already noted, being an angel isn't so great after all. When Seth and Cassiel discuss a little girl asking for a pair of wings, we are asked to question "What good are wings if you can't feel the wind on your face?"


Seth is visiting the operating room of Doctor Maggie Rice one day as a patient dies, when, as she struggles to revive the patient, it seems that Dr. Rice is able to see Seth, which is not possible unless he allows himself to be seen.

Seth is overcome with Maggie's passion for humanity, her tireless devotion to its continuation, and her dedication to her patients. He becomes infatuated with her.


In a rather unusual scene, a child passing by is apparently able to see Cassiel. Here, again, we the viewers have to wonder whether children have some ability to recognize the supernatural, some spiritual discernment, that we as adults have had drummed out of us.


Seth and the other angels like to spend their free time in the library. Here we see Seth listening to the thoughts of an elderly gentleman reading Earnest Hemingway's Paris memoir A Moveable Feast.

Hemingway's memoir describes his days as an American expatriate in 1920 Paris along with fellow authors F. Scott Fitzgerald, John Dos Passos, Ezra Pound, et al.

Given the prominence of this book in the film, we can easily recognize it as an allusion to the fallen angels, or expatriates from heaven:

"And the angels which kept not their first estate, but left their own habitation, he hath reserved in everlasting chains under darkness unto the judgment of the great day."(Jude 1)

Seth essentially begins stalking Maggie; but put to some romantic music though and it doesn't seem so creepy.


Seth also leaves Hemingway's memoir in her bedroom. When she return it to the library she finds a display of "Lost Generation" authors--of which Hemingway is the unofficial head. The Lost Generation is a dubious distinction coined by fellow author Gertrude Stein, herself an expatriate, for the post-war expats living in Paris.


Maggie runs into Seth again, allowing himself to be seen for a second time. And here is where the film is at its most a fantasy: this guy, all dressed in black, who seems to know an unusual bit about Maggie, and who here identifies himself as a messenger of God, in Los Angeles, the weirdo capital of the country, takes the woman's hand and runs his finger across her palm... and she digs it!


Back at the hospital, Seth comes across a patient of Maggie's named Nathaniel Messenger. Much to Seth's shock, he is aware of Seth's presence in the room.


It turns out that Mr. Messenger is himself a fallen angel who now describes himself as a hedonist and glutton.

At a diner, where Messenger promises to give Seth answers, we find this heart patient smoking and ordering several dishes which he reeeally enjoys as he explains to Seth about falling:

"You choose... to fall. You take the plunge, the tumble, the dive. You jump off a bridge, you leap out a window... You just make up your mind to do it, and you do it. [...] It's all very confusing and painful, but very very good."

It's interesting here how the word "fall" is diluted by the following words "plunge," "tumble," and "dive." Messenger continues:

"Listen kid, He gave these bozos the greatest gift in the universe. You think He didn't give it to us too?"

Seth: "What gift?"

"Free will, brother. Free will."

The reason for Messenger's fall was also because of a woman, just as described in the Book of Genesis, "The sons of God saw that the daughters of men were beautiful, and they married any of them they chose."


After witnessing some of Seth inhuman traits, Maggie is later shocked to learn that Seth isn't quite what she thought he was.


Maggie soon gets the straight story from Messenger, who also reveals that he too was once like Seth. He tells her, "He can fall. He can give up his existence as he knows it and become one of us."


Back in the library, Maggie tells Seth that she is going to marry her fellow doctor and boyfriend.


Seth, distraught, decides to fall in order to be with Maggie.


Following some initial euphoria, Seth soon learns of the pains of being human. He is beaten up and robbed of his shoes.

The viewer here is shown the "NUDE" sign several times from several angels. This is probably an allusion again to the Book of Genesis wherein after the fall of Adam and Eve, they found themselves naked and ashamed.


Seth eventually catches up with Maggie at a cabin on Lake Tahoe. She didn't get married and he tells her what he did.

So they sleep together.

This is another of the more fantastical aspects of the film: Maggie, who has just had confirmation of the supernatural, the afterlife, angels, God, Judgment Day, and pretty much everything else the Bible describes, decides to "fornicate" with a fallen angel.


The morning after their passionate night together, Maggie rides into town for some snacks.

Just as we saw Seth spread his arms just prior to his fall, or his transition from one world to another, we see Maggie doing the same as she rides back to the cabin, obviously enjoying the wind on her face during her post-makeout high.


Then she slams into a logging truck and dies--or transitions from one world to another, as Seth did.


Cassiel later asks the bereaved Seth, "If you'd known this was going to happen, would you have done it?"

Then comes one of the most sentimental lines in the history of moviedome; Seth says, "I would rather have had one breath of her hair, one kiss of her lips, one touch of her hand, then an eternity without it."

So here again we find an emphasis on the carnal pleasure even at the expense of eternity.


To reiterate that point, the film ends with Seth returning to the beach at sunrise with the angels. He can't hear the music anymore, but he can feel the ocean. He's lost eternity (ostensibly), but he got joie d'vivre!

So there it is, this fallen angel is a compassionate, sensitive, self-sacrificing, romantic, book lover brought to you by the Hollywood public relations machine. Recall that propaganda is the propagation, or spreading, of an idea or line of thinking. It is this alchemical machine that is transforming Satan, the Adversary, into Lucifer, the bringer of light, or gnosis and understanding, via films like Legion, Mosnters, Inc., Hancock, City of Angels, et cetera.

Film: Eternal Sunshine of the Spotless Mind

It appears that there are four types of films:

1) Benign storytelling.
2) Malevolent storytelling, or deliberate propaganda, like the films listed to the right.
3) Whistle-blower storytelling, or a film trying to expose something.
4) And what is often referred to as "revelation of the method" storytelling; this is where the Illuminati clowns must provide full disclosure of their plans ahead of time. While anyone has yet to provide any documentation of this rule, it seems to make a lot of sense given the intense legalism of the Pharisee code of "ethics."

What then are we to make of the 2004 romantic fantasy-drama Eternal Sunshine of the Spotless Mind? The film is definitely about MK Ultra, or Monarch-type mind control; the question is: is this a 2, 3, or a 4? Or could it even be a 1, having benign intent, but being heavily influenced by screenwriter Charlie Kaufman's own repressed memories, which he mistakes for creativity. Look at some of Kaufman's other projects:

Being John Malkovich: A puppeteer finds a portal into the mind of actor John Malkovich. "In the first draft of the script, Lester and his friends weren't using Malkovich's portal as a means for extending their lives, but in a plot to take over the world in the name of Satan. Satan was the mysterious 'Flemmer' that the Merton-Flemmer building was half named after." (IMDb)

Adaptation: A neurotic and depressed screenwriter, Charlie Kaufman, struggles to adapt a book to film. With the help of his twin brother Donald (doppelganger), he is able to finish the script and find romance. This Donald is even listed in the film's credits.

Confessions of a Dangerous Mind: A game show host has a secret life as a CIA assassin.

Synecdoche, New York: A theater director traumatized by divorce begins a major project to duplicate the city--complete with the people in it (doppelgangers). By the end, there are so many worlds within worlds that the line between fiction and reality is completely lost.

Doppelgangers, alter egos, puppeteers, reality and illusion blurred... these are some of the major motifs of Monarch mind control. Noting the persistence of these themes in Kaufman's films, what are we to deduce? Whether he is a sinister programmer (probably not popular enough for this) or a Monarch slave (too heavily awarded for this it would seem) we have no way of knowing. Or perhaps it's all just a series of fascinating coincidences. Maybe more of an opinion will form after looking into this film.


The film opens with Joel Barish calling in sick and taking the train to the beach on Valentine's Day. Normally, one considers walking along the beach a romantic endeavor, cliched even. But here, Joel is alone, holding a briefcase, and it's cold. This is the opposite of romantic, this is sad. This romance/anti-romance theme will gain more significance by the end of the film.


Joel keeps a journal, which is mostly blank. This, he tells, is his first entry in two years: a frightened man hiding under the stairs. The blank journal is obviously a symbol for the blank mind, and Joel is the man hiding.


Montauk, New York. Major mind control red flag here. It was here at Montauk Point, Camp Hero, that all kinds of weird experiments took place, to include Project Monarch. There are many websites covering this topic; one of which can be found here.


On the train from Montauk, Joel meets Clementine Kruczynski.


If we had any suspicions as the the mind control theme of the film before, Clementine confirms them. Most noticeable is her bright orange multicontextual sweatshirt. At first we assume that she likes orange because of here namesake, the Clementine orange. The song "Oh My Darling, Clementine"--a ballad about a lost love--is also mentioned several times during the film, lost love being the film's main, overt theme.


Associating Montauk with orange, one can't help but recall the orange Monarch butterfly.


We also notice that the orange itself makes a perfect metaphor for Monarch-type mind control: a whole broken into segments, or alters.

On the subject of her frequently changing hair color, Clem tells Joel, "I can't tell from one moment to the next what I'm going to like."

Joel we find in deeply introspective and brooding, Clementine, on the other hand, is outgoing and whimsical, more of a free spirit; both are rather dysfunctional in their own way.


Joel and Clementine begin dating. Here they lie on the ice looking up at the stars next to large cracks in the ice.

Glass or mirrors are frequently used as cinematic symbols of the shattered mind. In the above scene, the glass has been substituted for ice. They are both victims of Monarch mind control methods.

The definitive text on Illuminati mind control programming is Cisco Wheeler and Fritz Springmeier's The Illuminati Formula Used To Create And Undetectable Total Mind Controlled Slave.

This shattering of the mind process is created by excessive trauma inflicted onto a person, usually a child. The human brain protects itself from the effects of the trauma by cutting off synapses to certain parts of the mind/brain, thereby compartmentalizing the trauma into a separate "file" or alternate personality. These alters can then be programmed to perform certain functions, like assassinations.


Joel later learns that Clementine went to a company called Lacuna, meaning gap, to have him erased from her memory.

In the film, it is the ending of the relationship that serves as the trauma; indeed, the first act is filled with shots of Joel in anguish, crying, burying his head in his hands.

The astute reader will also notice that the trauma is coincidental to the "break up." The breaking up of the relationship causes the breaking up of the mind.


Clementine's willingness to go to Dr. Howard Mierzwiak at Lacuna serves as an analogy for the mind's natural ability to protect itself from the trauma.


Joel later asks Dr. Mierzwiak for the same procedure.


As the film progresses, and as Joel undergoes the procedure, the distinction between real life and Joel's mind become more and more confused. The words on signs disappear and people's faces go blurry as Joel memory of his experiences with Clementine are erased.


Later Joel realizes that he doesn't want to erase her from his memory; he wants to abort the procedure, but can't as his body has been rendered unconscious.

He and Clementine begin running in an attempt to hide from the erasures--this we recognize as an attempt to "stay together," both relationship and mind.


Joel and Clementine realize that in order to hide from the erasures, they must go to memories that are outside the context of their relationship, such as when Joel was a child. In the above scene Clementine has taken the place of Joel's mother. At one point the girlfriend/mother lifts her skirt to show her boyfriend/child her crotch.

This allusion to incest is quite disturbing considering what can be found in the Wheeler/Springmeier text in regards to the parents of Monarch mind slaves being the ones to inflict the sexual/rape trauma onto the children.


Compare the above scene's distortion effects that make Joel seem like a child with an excerpt from the text:

"The Programmers like to manipulate. Children are set in front of circus mirrors that make them taller or smaller for programming. They are set in front of mirrors which duplicate their image. Here in Oregon, there is a site with a magnetic anomaly which bends light. It is called the Oregon Vortex. The Programmers take small children there for programming. Anything that creates an illusion, seems to be noticed by the Programmers and is put to use somehow.

"The CIA has employed magicians like John Mulholland to help them create illusions. Magician John Mulholland wrote a manual for the CIA on how to deceive unwitting subjects. Under drugs and hypnosis, when a small child is set in front of a mirror that elongates its body and or then shortens, the reality of the programming script seems real. The programmer can hypnotically call upon the child’s mind to totally hallucinate seeing something, or he can support the illusion by handing the child a doll and telling it that it is a child, or handing the child a pencil and telling the child it is a flower. A great deal of acting and props are used during the programming.

"What child can tell fool’s gold from real gold? The bottom line is that generally, no matter which way the Programmers do it, whether by an illusion or an outright hypnotic-suggested hallucination, the event for the child is real. The majority of traumas are real events, but the scripts that are given are after the trauma are fictional."

Later, in another weird, repressed memory, Joel succumbs to peer pressure and beats a dead animal with a hammer. Forcing a child to do things like this is one of the trauma methods listed in the text.


We later find that Dr. Mierzwak had an affair with his secretary Mary, and she too had her memory wiped. Dr. Mierzwak tells her, "We have a history. I'm sorry. You wanted the procedure. You wanted it done so you could get past..."

Because of this, Mary will later reveal this secret to all the patients.


The last memory to go is the day they met at Montauk.


Before it's totally erased, Clementine whispers in Joel's ear, "Meet me at Montauk." This is why he later returns there.


They meet again and are attracted to each other. The difference this time is that Mary has sent all the clients a letter explaining what they have done as well as included the tape recording each client has made explaining why they want the procedure done.

When Clementine picks up her mail, just as she did at the start of the film, she find the tape; they listen to it in Joel's car. They both hear all the terrible things she said about him.


Joel finds a similar tape in his mailbox; on it are all the reasons he can't stand her--all the quirks he once found charming or cute.

Now they realize that they had a previous relationship but had their memories erased. They have just met, yet they have a long history together. Aside from being an interesting question for couples on the surface (would you do it all over again?), this situation is what Springmeier would call a "double bind"--two contradictory statements. From the text:

"These are the type of double-bind self contradictory statements that Satanists love to spew out. Monarch slaves are programmed full ofdouble-binds. With the Satanist's penchant for blurring reality in mind, read the following quote where the President of theTheosophical Society admiringly describes the Wizard of Oz, 'Part of Baum's joke is that things are never what they seem. Dorothy seems to be a simple and harmless little girl, but it is she who kills the wicked witches of both East and West. The Scarecrow seems to lack brains, but he has all the ideas in the company. The Tin Woodman seems to lack a heart, but he is so full of sentiment that he is always weeping. The Cowardly Lion seems to be a coward, but he takes brave action whenever it is called for. The Wizard seems to be great and powerful, but he is actually a humbug. Oz seems to be a glorious and delightful land and Kansas to be dry, gray, and dull--but Oz is a world of illusion and Kansas is really home. Things are not what they seem, in Oz or Kansas.'"

Just think of all the "double-bind" statements we find in every day life: the economy is tanking, the economy is recovering, for example.


Their answer is yes; even though they know what is going to happen, they decide to start their relationship anew. And lest Kaufman be accused of romanticizing mind control, we leave Joel and Clementine running down a cold, snow-covered shore-- the exact opposite of our conventional notions of a romantic walk along the beach.

We are left to question whether they will stay together this time, or if they will continue in some kind of loop wherein they fall in love, break up, have their memories erased, fall in in love... and so on. This is the intent of the final scene; there is no resolution. And while this may come across to many as a "happy ending," it has been determined that this lack of resolution is not without its consequences:

"Lack of resolution to a trauma, born of avoidance, may demonstrate itself in a number of ways, including avoidant or dissociative post-traumatic symptomatology, evidence of self-blame and other cognitive discord, lack of acknowledgment that a crime has occurred, and lack of meaning attributed to and growth from the situation.

"Moreover, all of these outcomes potentially impose greater risk that a woman will be revictimized. Not only might peritraumatic experience signal the beginning of an avoidant psychological course, but the woman's social context, necessarily shaping her both prior to and subsequent to an assault, may further exacerbate this default cognitive coping strategy." (Peritraumatic Dissociation, Lack of Resolution, and Revictimization in Survivors of Sexual Trauma: An Avoidance Dilemma?)

Joel and Clementine will suffer no further victimization because they are mere fictional characters, but throughout the film fiction and reality have been blurred, so might not the above excerpt apply to the viewer as well [assuming the film is a programming tool]? This would make perfect sense in terms of protecting the criminal and blaming the victim, and thereby exacerbating the cognitive coping strategy.

So as to the motivation of the film, who knows? But is it a mind control film? Absolutely.