9/11 references in Hollywood movies/TV series

[nonhocapito]

So I usually watch old movies and not because they carry less propaganda, but just because that propaganda is dated and it has a less annoying, less disturbing impact on me. I don't usually feel so crowded watching the movie, so pushed and manipulated as I do every time I watch five minutes of any contemporary product of Hollywood.

Anyway yesterday I was watching this comedy, "The Fortune Cookie" https://en.wikipedia.org/wiki/The_Fortune_Cookie, which turned out to be a moral comedy, and not so enjoyable; I wasn't caught in the story that much, so towards the end I got to notice this little tidbit:


full link: http://www.youtube.com/watch?v=ikH7YrqA_ew

Basic math skills: 2+7, 3+8.
"This ain't my day" is the comment.

Then I remembered this other unsettling bit, which is completely unrelated to the story: an entirely gratuitous mention of disaster that has no visible connection to the simple, moral plot of the story:


full link: http://www.youtube.com/watch?v=MuS8x-JmEMA

"11 dead", "disaster area", "families evacuated from their homes" "property damage in the millions". Keywords nonchalantly dropped.

This is a 1966 movie... you gotta wonder how old is this conspiracy? (I would reckon as old as the moon landing conspiracy, as the two giant lies seem to be connected in several disturbing ways.)

Anyway, as I said, this movie was nothing but an "innocuous" "moral" story about deception, revolving around the famous quote by Abraham Lincoln, which is the "fortune cookie" in the film:
"You can fool all the people some of the time, and some of the people all the time, but you cannot fool all the people all the time."

The movie has also a racial undertone, with the jewish lawyer trying to fool the public, and the white and black guy being fooled and taken off the path but eventually figuring it out; not without letting us known that the jewish lawyer will continue to prosper, and the two other guys will continue living in their unpractical, childish reality of games and useless morality.

[HonestlyNow]

Anyway yesterday I was watching this comedy, "The Fortune Cookie" . . .

Did I hear someone say "Boom Boom" Jackson?
(First video, at 0:19)

This is a 1966 movie... you gotta wonder how old is this conspiracy?

"Groundbreaking for the construction of the World Trade Center took place on August 5, 1966." (wicked page). Makes it seem that they were built with the end in mind, doesn't it.

[nonhocapito]

Did I hear someone say "Boom Boom" Jackson?

Yep, that's the nickname of one of the main characters in the movie. I didn't even realize that is probably not accidental... I guess I should pay more attention to these Billy Wilder/I.A.L Diamond movies.

[hoi.polloi]

Interesting findings, nonhocapito. Speaking of the 60s, in the 1997 children's live-action slapstick comedy movie George of the Jungle based on the 1967 cartoon of the same name, the opening credits are animated by famous Mad magazine cartoonist Sergio Argones. It featured a few references to twins (twin gator tails sticking up, twin mountains) which the airplane flies through or into.

full link: http://www.youtube.com/watch?v=Y5-3jQwbDi0

Unlike in the official 9/11 cartoon they called a "terrorist disaster", when the plane flies into a cloud, which is comically covering a mountain, the fuselage and wings fall off.

Not that it adds much significance to the facts of insularly interconnected media networks, but this had been a Disney release. Disney is widely suspected on our forum of having some responsibility in the NASA program.

[pov603]

hoi.polloi's reference to the twin crocodiles reminded me of the 'Lacoste' logo.
When entering a web search with 'Lacoste' and '11 September 2001', it came up with this link about a certain General and his near miss at the Pentagon. A mere coincidence...again...
http://www.wcmessenger.com/911-retired

[nonhocapito]

TV shows, movies, are all full of these things, small and big. How can anyone deny that there is a conspiracy, and that at its core are the media...?

Thinking about the above mentioned character "boom boom" Jackson, I remembered a small thing in an old clip from "Friends" (season 4, episode 15) that I never got to post on the forum. I've just made a Gif, here it is:

Ross points and tells us to look...

When the player falls all the characters gasp in awe.

(* in case you missed it: the shirt numbers of the two players who hold the ball.)

[hoi.polloi]

hoi.polloi's reference to the twin crocodiles reminded me of the 'Lacoste' logo.
When entering a web search with 'Lacoste' and '11 September 2001', it came up with this link about a certain General and his near miss at the Pentagon. A mere coincidence...again...
http://www.wcmessenger.com/911-retired

In that article, LaCoste states:

“There’s a cost. And there’s people out there paying the cost every day.”

You can almost hear him slurring it: There’s LaCoste. And there’s people out there paying LaCoste every day.

Bling bling money in the bank, I just do this La publicity Stunte and sympathy LaCashe is rollin' in.

It seems they don't mind putting their smug and satisfied attitude about exploiting others even in their speeches supposedly resembling tributes of honor. A supposed simulation or comedy about 'touching' moments (a la Friends, et al) in any given creative art piece isn't meant as such. It is as though honor, respect and compassion themselves aren't taken seriously enough for them unless those things aren't mentioned at all. Gives me a very 'Mafia' vibe.

So all this symbolism of "9" and "11" and tower crashes and their words for others 'in the know' to find — I don't believe we as respected individuals with an honored will and sacred mysterious life are the intended recipient. Instead, their audience is the cartoon of us (and each other) which they have in their own deranged minds. We — how we may see ourselves in this complex life — are not so much the intended recipient as much as a generic "la folla" (the crowd, the fucks, the chuckleheads in their own family which they think define who and what makes people) are.

It isn't folly to attribute to these people who consider themselves magicians any respect greater than you would have for a con man that just removed your wallet while dazzling you with false mysticism, for that low level of respect is what they would give us; but it may be folly to assume they are capable of the self-respect we are capable of giving them.

Money, power, drugs and thrills at the expense of other human beings, people and life forms must be the credo of the "conspiracy" that is nothing more impressive than haughty children with a vision of "piracy". I assert again we are dealing with giant babies.

Keith A. Glascoe

Worth repeating in the "Actors and Simulated Victims" threads, but for now I feel this idea flows more accurately with nonhocapito's recent musings.

Case in point of their wobbly "vision" of piracy, the recently unearthed vicsim character of "Keith A. Glascoe" (maybe CGI-ish but to me more likely played by a real actor that was continually credited under that possibly fake name) was of a family of actors. His children reportedly were also getting actor training before the 9/11 disappearing act. One gets the sense there is a 'mob' feeling to these two-bit characters who wish to please the Don Corleones of Hollywood, like the producers and directors and certain actors above the basic tier of "fame slave drone".

In the privately produced little "pilot" episode of the movie Pirates of Central Park, the actor who donated his face for it to perpetually play the future 9/11 vicsim "Keith Glascoe" (and the nose, mouth, eye and other face parts of some surrounding friends in the Vicsim) makes his appearance. He plays a cop. Yes, a fake cop.

The same actor has already played a cop-like goon in the movie Leon.

Note the odd spacing of the titles "3 rd" and "4 th" beginning with Keith A. GLASCOE. Was this just a typo or another kind of signature that there was to be something 'funny' about the Keith A. Glascoe character?

Why not play a goony firefighter for 9/11?

http://nyfd.com/9_11_wtc.html (by the way, what is that Emelio Estevez looking character on the left?)

A short analysis about this Pirates of Central Park movie, indicative of at least a small speculative acknowledgment that guilt or remorse is possible in playing a part of the 9/11 hoax:


PIRATES of CENTRAL PARK

My thesis is that this movie is a deliberate depiction of the personal emotional interpretation (by a perp) of their own participation and foreknowledge of the 9/11 media conspiracy. It evokes a sense of playfulness and slight guilt, mostly overwhelmed by a rather cold and psychopathic attitude toward others. It cameos "Keith Glascoe" as a cop, and it was created by Rob Farber, a professional advertiser with a pseudo-professional (I'd say "faked amateur") web site. As I explained on the relevant thread at Fakeologist.com ( http://fakeologist.com/2015/04/24/where ... /#comments ) :

One of the last appearances Glascoe made was a blurry background character in Rob Farber’s rather confessional (yet tiny low-budget) “Pirates of Central Park” pilot about kids sneaking around playing ‘pirates’ in Manhattan. It seems to be like that X-Files episode — another ‘in the know’ kind of pre-9/11 production about keeping crime a secret in New York. The 33-minute thing can be watched in full on Rob Farber’s active but bizarrely low-key (for the advertising industry) web site “RogueProducer.com”. Not so bizarre when many research angles on 9/11 hoax participants end up in these places. Slightly defunct looking sites that are actually ‘word of mouth’ businesses that scrape by on unknown connections.

Besides featuring future 9/11 vicsim "Keith Glascoe" in tiny miniature, the otherwise nonplussing and 90's-looking scrap of film screams "confession of foreknowledge of 9/11" like few other media productions. And this, mind you, is a shitty little difficult-to-view production in the corner of a malfunctioning, poorly programmed web site supposedly for big wigs to find and use for its advertising business. Reminds me of the deliberately badly programmed CNN site for "9/11 victims", from which we compiled vicsim lists.

The narrator, a child, who speaks in first person about their childhood experience of wanting to be a pirate, is presumably a metaphorical character representing the director themselves (if not a close friend). "I want to be a pirate" announces the child, and, "I was lucky enough to be invited into this profession."

A "popular" kid appears (subconsciously linking the irresponsible use of power with popularity) which he expresses some envy over. This "bad" kid's first line is, "Shh, keep it down. Secrecy is everything." He continues to repeat this mantra throughout the film, saying it at least three times before the end.

"How do you go about being a pirate these days?" asks the main character. The "bad" kid replies that pirate life is "the danger, the risk, thrill of drawing first blood ..."

"How are we going to be pirates?" asks the narrator.

The "bad" kid replies, rather nonsensically, "Venture, capital."

This implies, as we've always suspected, that should this work of fiction be an admission of some kind, the money used to fund 9/11 was largely private donors using their liquid capital as "venture capital" to get a conspiracy rolling.

Indeed, a second "bad" kid who seems subservient to the first, says, "My dad is rolling in it."

The idea they hatch is to launch pirate ships in a pond in Central Park and "take out" other ships.

How are they going to take the pond ships down? (the narrator child wonders.) "See this?" says the second "bad" kid, "It's a radio frequency controller."

They "explain" to the narrator that many in the pond have "RF" boats, and add, "Ours will have torpedoes." Note that this lazy explanation does not at all explain how the piracy works. The magical, willing suspension of disbelief masks the potential for the following information to be gleaned: the piracy uses "frequency" and theirs will be of the aggressive type. We can draw from this some small confirmation of Simon's theory that frequencies were used to disarm and disable recording equipment, and it may also be a reference to television signals.

"Once I give the signal — Boom! — the pirating begins," explains the lead "bad" boy.

"Are you sure we can do this?" asks the narrator, apparently still feeling the tug of some socialized belonging, or possibly merely wondering about the mechanics. "Money can buy you some pretty righteous stuff," is the reply.

What controls will be used is explained in a short exchange about a radio boom box. "What's this?" asks the narrator. "Just your classic diversion" explains the "bad" boy. This bit of the narrative doesn't explain so much as give confirmation of the simple mechanic of hiding weapons in plain sight. Behind the booming boom box, which disguises the antennae of the RF controller used to move and attack with their little "pirate ship", the narrator is coerced into operating the controls. It is almost a perfect metaphor for mainstream broadcasts distracting people while the real controller behind the radio (or television) operates in disguise.

Whatever symbolism you want to read in their target, you may. I personally don't find the large blue "Captain" (Dad) with little red "First mate" (his son) of any particular significance. Perhaps the cigar chomping, overweight father simply represents an "easy to hate" target, considered "loaded" (wealthy) by the kids.

"Wouldn't it be bad to sink such a nice ship?" asks the narrator, constantly representing the pathetic pleas of a disintegrating morality. But don't worry! The "bad" kid assures us, there will be "no loss of life!"

At some point in the story, the narrator is confronted by the "bad" boy in a conspiratorial meeting at a library.

Above their little conspiracy discussion, "Non-Fiction" hovers above the "bad" child's head as he literally pitches to the narrator the conspiratorial plot. They basically shake hands and agree to conspire together out of sheer excitement over the deception. The narrator at some point does ask if pirates are not hanged. The "bad" kid reassures that "the clever ones" get away with it, and adds, "The worst thing that could happen is we get detention or juvy hall." In short, some jail time paid off quickly — a slap on the wrist — is all the elite pirates have to fear as consequence for hurting others.

"We'll use our signal so nobody knows who's controlling the rogue," reassures the "bad" kid. This transitions to a shot of Manhattan, which lowers to the shot of boats. It seems an ominous skyline for a story that touches so close to the official 9/11 narrative.

The boys press buttons and their target ship automagically sinks into the pond, while Blue and Red (democrat and republican?) look on in shock and anger. The narrator feels proud of what he inexplicably perceives as a "financial" or "power" victory. "I felt great. The other crew lost their ship but nobody died!"

The next time they pirate, the fat Dad and fat Son show up with a new, bigger ship with an American flag and red-white-blue colors. They must be a "glutton for punishment" claims the out-of-control "bad" kid leading their piracy. They succeed in destroying this very patriotic ship as well.

The narrator continues, "Everyone looked into my heart to tell me how rotten I was. I wanted to tell them it wasn't my idea."

The bad kid is also aware of something, though in true remorseless form directs them this way: "So now we disarm the ship, so that when we are caught there is no evidence we did anything."

"Truly the product of a sick mind!" comments the narrator with an increasingly disturbed admiration for the psychopathic child's methods.

The third time, 'Secret Agent' style music plays as a British-esque boat with a Barbie in it, sinks their ship. The "Fat Americans" used the British to infiltrate the pond and destroy the would-be pirate boys' grand pirate ship. "Maybe we had it coming to us?" asks the narrator. "Never again would I be a pirate."

However, without true remorse, the child only seems to use sympathetic narration as a cover for his new addiction to ruining other people's lives. The use of emotionally manipulative language to hide truly nefarious desires draws forth the underlying meaning of the entire narrative: it is the confession of the narrator being remorselessly trained in psychopathic behavior as he says good bye to his morality with little more than a shitty little "TV pilot", valuing even his own empathy and compassion as nothing more than tools to exploit others. In the end, his corrupt core is completed when his Mom brings him a toy airplane as a gift for "returning" to her attentions.

He seems to be excited about the next evolution of his retreat from humanity — something involving the use of remote controlled airplanes ...

---

To conclude, if Keith A. Glascoe was really a real person who disappeared on 9/11 (as researcher Max Ratt alleges), I have no doubt they knew perfectly well the deal in store for them. He probably faked his death, contributed and "okayed" his face and name for use in the Vicsim, ("greyed" out by a slight clone named "Grey") and disappeared to a tropical location to live out his days in anonymous comfort. Researchers at Fakeologist.com looked on Facebook for information and discovered that one of his partners and the acting children (the children may indeed be actors if brazenly mixed with fiction in Glascoe's obituary by dubious propaganda slave New York Times) were traveling recently to a far off locale; I wonder if it isn't to celebrate with their spooky dad the odd little arrangement they have now to "hush up" for continued benefits from the most powerful government in the world: the imperial-type military intelligentsia (and its control, of course, of media and academia through Tavistock styled psychological studies).

[simonshack]

I assert again we are dealing with giant babies.

That is such a perfect assertion, Hoi - and I cannot agree more with it. We are dealing with giant babies.


Rob Farber : https://www.linkedin.com/in/robfarber
Here's "ROGUE ROB's" bio on his own website: http://www.rogueproducer.com/bios.php?p=1

Giant, depraved babies who - such as is clearly the case with this Rob Farber clown, just LOVE to show off - in an 'underhanded' sort of way - that they were among the "priviliged few" who were let in on the upcoming 9/11 hoax (which, we have been told, "CHANGED THE WORLD").

I will just embed this must-see 33-minute, painfully obvious "9/11-foreknowledge-bragging" short movie - for all to watch and weep (alongside all good people on this world) at the utter arrogance and lameness of the sorry gang of giant-baby-psychopaths who knew full well about the planning of this despicable scheme designed to fool the entire world's population. To be sure, this short movie doesn't just contain (like so many other HollyWool movies predating 9/11) a brief scene or two hinting at the upcoming 9/11 hoax in Manhattan, New York. This emetic "Pirates of Central Park" flick WAS ENTIRELY SCRIPTED as some sort of 'metaphor' of the biggest & roguest psyop of of our modern times:


full link: http://www.youtube.com/watch?v=Y_u6kpTGiBg

Think about it: that remote-controlled airplane given (by his mom) to the 'young pirate' at the very end of the film makes absolutely NO SENSE at all - in the context of that film's plot. It ONLY 'makes sense' once you understand that the film is a pathetic 'insider-joke' on the part of its maker.

[Undoctored]

I will just embed this must-see 33-minute, painfully obvious "9/11-foreknowledge-bragging" short movie

Thanks, Simon. The following bit of foreknowledge was quoted, but only in part, by Hoi Polloi. It deserves a full hearing (listen starting at 15:29):

Unbelievable! A pirate had been born. How great did I feel! Really great. OK, so: The other crew lost their ship. But nobody died! That’s what pirates did, right? It’s that nut job Simon I was worried about.

[hoi.polloi]

Yes, I did note that the name 'Simon' (unfortunately popular with PsyOp writers lately, probably due to the game The Sims or even much older writings on simulations) was the name of the "bad" blonde boy. Amusing to use the term 'foreknowledge' (though I see you are using it sarcastically, thankfully), but I would assert truly a coincidence that Simon's parents chose the name for our man Simon Shack long before this movie was made. They probably had no inkling of the sinister ways a 'deranged psychotic baby' (loving your adoption of the word, Simon — Ha!) could use the name for PsyOp reasons. But I suppose a name is like a tool — it can be used for good, for evil or ... uh, 'for neutral'.

[simonshack]

I will just embed this must-see 33-minute, painfully obvious "9/11-foreknowledge-bragging" short movie

Thanks, Simon. The following bit of foreknowledge was quoted, but only in part, by Hoi Polloi. It deserves a full hearing (listen starting at 15:29):

Unbelievable! A pirate had been born. How great did I feel! Really great. OK, so: The other crew lost their ship. But nobody died! That’s what pirates did, right? It’s that nut job Simon I was worried about.

Good grief, yes - it also struck me as a pretty surreal coincidence... since I am now the "nut job Simon" who has (with lots of help from my friends) roundly exposed the magic trick pulled off by the "9/11 pirates" - in which nobody died.

The irony / serendipity of it all is quite amusing - yet I expect that this truly funny / genuine coincidence will be used as 'ammuniton' by the various clowns enlisted to cast doubt on / and discredit my totally independent and unconnected persona. Holding my breath - and counting down... Getting used to it, anyhow!

[pov603]

glascoe_010.JPGglascoe_011.JPGglascoe_012.JPGglascoe_013.JPGglascoe_014.JPG
Note the odd spacing of the titles "3 rd" and "4 th" beginning with Keith A. GLASCOE. Was this just a typo or another kind of signature that there was to be something 'funny' about the Keith A. Glascoe character?

http://www.foxnews.com/us/2012/09/10/ch ... ars-later/

Maybe these 'typos' with Keith Glascoe and Randy Scott are to denote who will be recurring 'characters' in the drama known as '9/11' and will occasionally make cameo appearances even 10 years after the show ended.

[pov603]

This has to be one of the most blatant references I have ever come across.
This mockumentary even used to be in the imdb top 250.
http://www.imdb.com/title/tt0059894/?ref_=fn_al_tt_1

Check out the scene from approx. 13:12 wherein the Narrator introduces a Doctor doing his rounds, visiting a patient at home.
The Narrator goes '...the time? 9:11 [am}...'.
The good Doctor gets out of the car, approaches the patient's house door and knocks.
The house number? 119.

There is a bit of history about this film in that it was deemed so shocking that the Government decided not to show/re-show it unless a nuclear war was imminent.
Many years later it was shown in the 80s under the guise of something else - the anniversary of Hiroshima and some people were of the opinion that this was a backhanded way of the Govt. preparing people for nuclear war with the USSR.
Mind games indeed.

[ICfreely]

And that 80’s propaganda piece paved the way for the post-Cold War agenda – rogue scareorists & anonymous hackers. The (not so) subliminal implication was; if an average suburban teen can outsmart inept gooberment shitheads, then it would be a cakewalk for nefarious lone wolves or organizations. Therefore, everyone is suspect. And that’s where we find ourselves today – an Alex Jonesian Prison Planet lockdown with wall-to-wall fear-porn paranoia.



Sci-Fi Predictive Programming: The Semiotic Deception of 9-11 – Phillip D. Collins

Semiotics could provide the Rosetta Stone to decipher the esoteric language of the elite, particularly the subtle messages embedded within the events of 9-11.

“Good” Americans vs. “Evil” Arabs

As Gaines relays, “The violence in Independence Day, coded as fiction, constructs a narrative binary opposition that clearly identifies good against evil. The available images representing the events of September 11, using inferences drawn from Independence Day’s sign/object relations, construct a narrative paradigm based upon the same themes, but coded as reality.”

Sci-fi Predictive Programming

This larger semiotic deception is part of a program for cultural subversion known as “sci-fi predictive programming,” a term coined by Michael Hoffman. Elaborating on this concept, he states: “Predictive programming works by means of the propagation of the illusion of an infallibly accurate vision of how the world is going to look in the future” (Hoffman 205).

Innocuous though the genre may seem, science fiction literature has had a history of presenting narrative paradigms that are oddly consistent with the plans of the elite. In Dope, Inc., associates of political dissident Lyndon LaRouche claim that the famous literary works of H.G. Wells and his apprentices, George Orwell and Aldous Huxley, were really “‘mass appeal’ organizing documents on behalf of one-world order” (LaRouche 538). Such would seem to be the case with Gene Roddenberry’s Star Trek, which presents a socialist totalitarian world government under the appellation of the Federation. (Alexander 568).

In 2001: A Space Odyssey, Stanley Kubrick and Arthur C. Clarke presented a semiotic signpost for the next step in humanity’s chimerical evolutionary ascent.
At the heart of the film is the worship of the Darwinian hypothesis of evolution…

Semiotic intimations of this emergent garrison state are discernible in the 1997 film Starship Troopers. Based on the sci-fi novel by Robert Heinlein, Starship Troopers presents a socialist totalitarian world government that owes its very existence to a threat from “beyond.”

In the same year of Starship Troopers’ release, former national security advisor Zbigniew Brzezinski published The Grand Chessboard.

He asserts, “[A]s America becomes an increasingly multi-cultural society, it may find it more difficult to fashion a consensus on foreign policy issues, except in the circumstance of a truly massive and widely perceived direct external threat.” (Brzezinski 211)

Assembling the Picture

Was this an accident or a consciously engineered psychocognitive assault? Gaines states: “The stereotypical images of Arab, mid-eastern-looking people celebrating on a street could be falsely anchored to a specific people from a designated time and place” (Gaines 127). With the eyes of the world firmly fixed upon Islamic extremism as the enemy, the true of criminals remained hidden behind a semiotic veil.

The Magic of Electronic Media

Citing Richard L. Lanigan, Gaines asserts: “Fiction and nonfiction are both mediated popular texts—the convergence of human experience expressed through technology.” That the chief means of deception is technological in nature is intentional. The word “technology” is derived from the Greek word techne, which means “craft.” Moreover, the term “craft” is also associated with witchcraft or Wicca [Wikipedia ]. From the term Wicca, one derives the word wicker (Hoffman 63).

Examining this word a little closer, Hoffman explains the denotations and connotations of the word wicker, one of which is “‘to bend,’ as in the ‘bending’ of reality.” This is especially interesting when considering the words of Mark Pesce, co-inventor of Virtual Reality Modeling Language. Pesce writes: “The enduring archetype of techne within the pre-Modern era is magic, of an environment that conforms entirely to the will of being.” Through the magic of electronic media, the post-9-11 environment seemed to conform entirely to the will of the elite.

The Druid magicians of antiquity carried wands made out of “holly wood.” The famous Hollywood sign is but an enormous semiotic marker for an industry that specializes in illusion. Independence Day could be considered just one more of its spells. Given public compliance to the illusion of the so-called “War on Terror,” it would seem that the spell is working. Through the alchemical sorcery of electronic media, America’s consciousness remains immersed within the semiotic mirage of post-9-11 culture.

http://www.paranoiamagazine.com/2013/01/sci-fi-predictive-programming-the-semiotic-deception-of-9-11-2/

[cooler1021]

There is a scene in a movie/tv series where (as far as I remember) a guy is lying on a couch and waking up. There is another man in the room who is pointing at a blackboard saying something like: "Remember 9/11? It was all CGI and special effects". This fragment is on youtube somewhere but I was unable to find it. Does anyone know from what movie or series this scene is? I would like to find this clip back.