Fiction as a Precursor to Fact: Sci-fi "Predictive Programming" (Final Part)

Heralding the Technocratic Messiah

Of course, a new world religion requires a new world messiah. There is even a messianic legacy within Masonic mythology. Thirty-third degree Mason Albert Pike states:

?Behold the object, the end, the result, of the great speculation and logomachies of antiquity; the ultimate annihilation of evil, and restoration of Man to his first estate, by a Redeemer, a Masayah, a Christos, the incarnate Word, Reason, or Power of Diety.? (274)

The astute reader will immediately notice the capital M in "Man," denoting humanity's intrinsic divinity. Being a god was humanity's "first estate." Thus, the Masonic messiah is not the transcendent Creator incarnated as Jesus Christ. Instead, Masonry posits that the messiah is within Man himself. According to Masonic doctrine, humanity's cognizance of its innate divinity is integral to achieving apotheosis. Pike recapitulates:

?Thus self-consciousness leads us to consciousness of God, and at last to consciousness of an infinite God. That is the highest evidence of our own existence and it is the highest evidence of His.? (709)

As for the early Christians who believed that Jesus was the transcendent God clothed in flesh, Pike derisively portrays them as superstitious simpletons:

?The dunces who led primitive Christianity astray, by substituting faith for science, reverie for experience, the fantastic for the reality; and the inquisitors who for so many ages waged against Magism a war of extermination, have succeeded in shrouding in darkness the ancient discoveries of the human mind; so that we now grope in the dark to find again the key of the phenomena of nature.? (732)

Pike's reprimand concerning Christianity's substitution of faith for science betrays Masonry's scientistic proclivities. Earlier in human history, such scientistic belief was less powerful. However, in this post-Masonic era where the doctrine of the elite's epistemological cartel has been fully externalized, scientism rules the day. As such, the present scientistic society demands a scientistic messiah.

The semiotic synchronicity between these two pictures is clearly religious.Paradoxically, this occult concept of self-deification asserts that humanity's internal deity requires an external facilitator to achieve full manifestation. Again, science fiction has played an integral role in preparing the masses for such an eventuality. One of the most significant pieces of messianic sci-fi predictive programming is Steven Spielberg's E.T. The central theme of the film E.T. is most succinctly encapsulated in the familiar shot that also adorned many of the movie's publicity posters. Of course, this is the shot of the outstretched hand of the movie's human protagonist touching the glowing fingertip of an alien hand reaching downward.

The symbolic meaning embedded within this image becomes evident when compared with Michelangelo's Sistine Chapel painting. Like the thematically axial shot in E.T., Michelangelo's portrait presents Adam "with a raised arm and in fingertip union with God" (377). The semiotic synchronicity between these two pictures is clearly religious. Spielberg's pivotal shot in E.T. is an intertextual reference to Michelangelo's Sistine Chapel painting.

Both appear to be premised upon the Christian theme of God communing with His own creation. The ministry of Jesus Christ, whom Christians believe to have been God incarnate, tangibly enacted this theme. Reiterating this theme, Spielberg's film features an extraterrestrial "messiah" who reproduces many of Jesus' miracles. The most significant "miracles" performed by this visitor is its own resurrection and ascension into heaven. Yet, despite these ostensible Christian elements, Spielberg's film cannot be construed as a "Christian allegory." Both instances, it should be noted, are explained in a naturalistic context. More specifically, the "resurrection" is merely the creature's exceptional immunological response to Earth's bacteria and the "ascension" evacuation via a waiting spacecraft.

Yet, Spielberg's bowdlerization of Christian theology is anything but new or innovative. E.T. merely continues a tradition embodied by Michelangelo's Sistine Chapel painting. The portrait departs from the traditional Christian paradigm concerning the Genesis account and humanity's relationship with its Creator. Ian Taylor explains how Michelangelo's painting deviates from the traditional Genesis account:

?Unlikely as this may seem, it is, nevertheless, a remarkable fact that when painted in 1508 Michelangelo took the bold step of departing from the biblical account of the creation of man to depict what is today seen to be a theistically evolved version. Prior to this time, artists had stuck to the Genesis description of a non-living being made from the dust of the ground becoming a 'living soul' by the infusion of God's breath (Genesis 2:7). Michelangelo's now famous painting of the creation of Adam shows a human form quite evidently alive with a raised arm and in fingertip union with God. The question this painting raises is that since the creature is alive, what kind of pre-Adamic being does it represent? Enterprising Jesuit teachers have seized upon this as historical vindication of the truth of theistic evolution, so that the creature depicted must then be some kind of advanced anthropoid. There can be absolute certainty that nothing could have been further from Michelangelo's mind, yet the Greek influence and tendency to rationalize revelation is represented symbolically throughout the entire painting, not in style, but by the insertion of Greek sibyls between the Old Testament prophets.? (377)

Like Michelangelo's portrait, Spielberg's E.T. attempts to reconceptualize man's relationship with the heavenly. The film is set in the modern age of science, a time when mystical cosmology has been supplanted by human reason. This contemporary cultural milieu is one governed by scientism. In this context, the human protagonist of E.T. represents an Adept or, as they are called in esoteric circles, an Illuminatus ("illuminated one"). With his evolutionary development augmented through extraterrestrial intervention and a paradigm shift just on the horizon, Spielberg's human protagonist is the next in a long line of Avatars. The extraterrestrial visitor is an anthropomorphic representation of Prometheus, who imparts the torch of Wisdom unto man.

As is evidenced by films like Close Encounters of the Third Kind and E.T., the relatively recent UFO phenomenon made a significant impression upon Spielberg. In fact, the UFO mystery has prompted many to reconceptualize their relationship with the heavenly realm. Timothy Good provides an example of such a shift in thinking:

?Miles Copeland, former CIA organizer and intelligence officer, related an interesting story to me involving the Agency's attempt on one occasion to use fictional UFO sightings to spread disinformation. The purpose, in this case, was to 'dazzle' and intoxicate' the Chinese, who had themselves on several occasions fooled the CIA into sending teams to a desert in Sinkiang Province, West China, to search for nonexistent underground 'atomic energies.' The exercise took place in the early 1960s, Copeland told me, and involved launching fictional UFO sighting reports from many different areas. The project was headed by Desmond Fitzgerald of the Special Affairs Staff (who made a name for himself by inventing harebrained schemes for assassinating Fidel Castro). The UFO exercise was 'just to keep the Chinese off-balance and make them think we were doing things we weren't,' Copeland said. 'The project got the desired results, as I remember, except that it somehow got picked up by a lot of religious nuts in Iowa and Nebraska or somewhere who took it seriously enough to add an extra chapter to their version of the New Testament!? (357)

If this UFO manipulation perpetrated by the CIA was effective enough to compel certain factions to embellish and pervert the Scriptures, imagine what a deception on a larger scale could accomplish. Rose states:

?Science fiction has given the images, 'evolution,' has produced the philosophy, and the technology of the 'space age' has supplied the plausibility for such encounters.? (Rose 91)

Apparently, the idea of extraterrestrials visiting earth was so powerful that it prompted many to reconsider their traditional religious notions. No doubt, the UFO phenomenon had the same effect upon Spielberg. Herein is the ultimate theme underpinning the imagery in E.T.: the redefinition of God.

The fingertip union between terrestrial anthropoid and extraterrestrial anthropoid represents the religious mandate for the creation of a new scientistic faith. Through sci-fi predictive programming, filmmakers like Spielberg could be serving as "religious engineers" in the construction of a new messianic legacy. However, this savior is anything but the Christ of Christianity.

Consider the following account of Linda Moulton Howe. During a meeting with Richard Doty, an intelligence officer with the United States military, Howe was presented with a briefing paper regarding alien visitation. In its body, one finds a claim heralding the arrival of an individual that the film E.T. has prepared the public to accept. Howe elaborates:

?There was a paragraph that stated, 'Two thousand years ago extraterrestrials created a being' that was placed on this earth to teach mankind about love and non-violence.? (151)

Was Doty acting on behalf of some hidden "religious engineers?" Was he a counterfeit John the Baptist, appointed to introduce the world to a technocratic Christ? Now, it is important to recall Doty's connections with military intelligence. He has worked within circles where the Freemasonic myth of Sirius is actively circulated. If such a deception is underway, sci-fi predictive programming like E.T. has helped cultivate the fertile soil of public imagination.

In essence, E.T. is the cinematic rallying call for the re-engineering of religions. In Morals and Dogma, 33rd degree Freemason Albert Pike states: "God is, as man conceives Him, the reflected image of man himself" (223). According to the Scriptures, God made man in His own image. According to the hidden "religious engineers," it is man's time to return the favor.