sublimity wrote:The Judd Apatow produced comedy, "The Five-Year Engagement", includes some blatant 9/11 reminders. In one part, the main character opens up a taco shop called "9-1-YUM" run out of an ambulance. In another scene, a psychology professor is lecturing students on making bad decisions, then triggers a fake fire alarm, convincing the students to stay so he can prove his point. Firefighters are shown running up the stairwell behind the students, when it is revealed that "the firemen are not real, they are actors". A character is trying to book a location for a wedding reception, but is told that her preferred spot is booked for three years, "unless you want to get married on September eleven". Judd really Apa-tows the line in his other films, when it comes to 9/11 and other historical hoaxes, as well.
upstream wrote:Tom Hanks is an interesting character in this media fakery game.
THE ASTRONAUT'S WIFE (1999)
Good Heavens. Here we have what appears to be yet some more "9/11-inspired", predictive-programming Hollywood tripe.
"The Astronaut's Wife" stars Jill (Charlize Theron) and Spencer (Johnny Depp) in a movie script which, in my view, goes to confirm my long-held contention that the ongoing NASA hoaxes are intimately related to the 9/11 hoax. Its jewish writer/director and current NBC television sitcom-producer Rand Ravich may well be another dude worth interrogating one fine day - in relation to his possible insider-foreknowledge of the wretched 9/11 psyop. Oh well, I might be jumping the gun here, unduly accusing this Ravich chap of sinister complicity. So let us just have a look at this movie, ok? All you need to know - before we proceed - is that this movie's storyline revolves around a NASA astronaut, "Spencer", who returns (with his colleague) from a Space Shuttle mission to repair a faulty satellite. During the mission, NASA mysteriously loses contact with the two astronauts - for two minutes - during which (as is clearly implied) they have a close encounter with aliens. The two astronauts are thus turned into aliens themselves - and when they get back home and copulate with their wives, the two women get pregnant with...TWINS !
That's right: the two astronaut wives both expect TWIN babies. Only that one of them commits suicide (following her husbands death due to what NASA describes as a "severe insult to the brain" ) - so we are left with JILL and SPENCER for the rest of the movie. At one stage, by the end of the movie and its climax, JILL runs away from her "alien" husband - and we see her running with the Twin Towers in the backdrop:
But here's my favorite part of the movie. Why favorite? Well, those familiar with my electronic jamming theory will understand why.
At 37:20 in the movie, SPENCER's boss (an aerospace executive) describes what SPENCER's new job in New York is all about (SPENCER had eventually resigned from NASA and got himself this plum job in New York) :
"The modern battlefield is ALL electronic, and the fighter that this man has helped us design, can detect, sort, identify and eliminate ANYTHING electronic."
full link: http://www.youtube.com/watch?v=lDol78HGy9g
"The modern battlefield is a blizzard, a transparent electronic blizzard, with PLANES, AND TANKS AND COMPUTERS AND MISSILES, all humming away, and into that storm flies our fighter ... doesn't drop bombs, doesn't shoot missiles, just sends out a signal. It's like the voice of God. JUST A SIGNAL, THAT TURNS EVERYTHING OFF."
So, the very star of this movie, SPENCER (Johnny Depp), is presented as the developer of a fighter jet capable of emitting a signal which turns every electronic device off? Interesting, isn't it?
TRIVIA: What the heck is the deal with THIS Movie Mars page? It states (erroneously)
that this movie was released on "9/11/2012" - and sells the DVD for "$11,27" ???
http://www.moviemars.com/Sci-Fi-and-Fan ... nadian.htm
Some conspiracy theorists have suggested that the thirteenth floor in government buildings is not really missing, but actually contains top-secret governmental departments, or more generally that it is proof of something sinister or clandestine going on. This implication is often carried over, implicitly or explicitly, into popular culture;
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