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Is it possible that significantly important, hidden messages permeate many of
our movies today? Could it be that through the unique cultural medium of
cinema, hundreds of millions of unsuspecting viewers are being hypnotized
and programmed without their knowledge—being prepared for a future age
of Big Brother and made ready to accept the most heinous evil? Is mankind
being conditioned through the most sadistic and satanic forms of
entertainment to relish—and even demand—the constant staging of brutal
and deadly “Blood Games”?
That is the contention of John D. Christian in his thought-provoking and
insightful book, Gladiator. The title, of course, refers to the Ridley
Scott-directed movie, Gladiator, an Academy Award-winning film which won
Oscars both for Best Movie of the year and Best Actor (Russell Crowe).
Mr. Christian is persuaded by voluminous evidence—which he presents to
readers in the pages of his book—that Gladiator is a movie that attempts to
revise and rewrite true history. More ominous, however, he expresses his
firm conviction that this much lauded and critically received film is, in fact, a
masterpiece of satanic propaganda. It is a film designed to implant in the
minds of viewers a message which is a call to worship the coming prophesied
Antichrist of the Holy Bible’s Book of Revelation.
If the author is correct, then we can expect the movie Gladiator to be imbued
with very special supernatural powers to mesmerize and deceive. Certainly,
the history of our planet reveals that this movie would not be the first to be
endowed with such unusual powers to influence the minds of men, women,
and children.

A Masterpiece of Propaganda

Mr. Christian, this book’s author, presents documentation that the movie
studio which produced the Gladiator epic actually admits in one of its own
publications that the movie is patterned after what is arguably considered to
be the 20th century’s greatest mind control cinematic production, the
celebrated Hitlerian documentary, Triumph of The Will, directed by famous
German photographer Leni Reinfenstahl. In a separate book accompanying
the movie, its makers reveal:”

“Gladiator Director Ridley Scott wanted Commodus’s grand entrance into
Rome to echo Nazi-era propaganda films like Leni Reifenstahl’s Triumph of
The Will.

We cannot, based on the present evidence, maintain with certainty that its
director or producers desired their acclaimed movie, Gladiator, to be endowed
with monumental satanic powers to program and channel men’s minds and
energies in the direction of evil. But such a purpose cannot be ruled out. It
has been my observation that many, many men and women in a variety of
professions—from architects to artists, authors, medical doctors, and movie
producers—are being led, often without their conscious knowledge, into
wicked paths in order to influence the masses.
Possibly, this is also true of movie director Ridley Scott and others involved in
the making of Gladiator. Oftentimes, those who provide Satan with the most
magnificent service are wholly unaware that their talents are being used for
evil. That is the tragedy of unregenerated man and his modern culture.

Subversive Movies

In a recent edition of The Lofton Letter, my friend, the astute commentator
John Lofton, wrote of how one particular classic Hollywood movie was
originally produced with the specific intent of effecting societal change
through the implantation of certain religious images, motives and goals.
Lofton related:

There I was watching cable TV ("American Movie Classics”), a program called
“Backstory” which gives us inside info about how a movie was made. The
particular flick this night is one of my favorites, the 1951 classic, The Day The
Earth Stood Still.

OK. So, midway through this show, we’re told there was a “sneaky,
subversive subtext” in this film, with parallels between the peace-loving alien
(actor Michael Rennie, robot “Gort’s” boss) and —Jesus Christ!” How so?
Well, Rennie’s character, at one point, calls himself “Mr. Carpenter.” Also, he
dies and is resurrected.

But, says the narrator, the alien’s power over life and death did not slip past
censors “who insisted the blasphemous plot-point be changed.” It was. In a
re-take, when asked if he had the power to create eternal life, the alien says
no, only for a short period of time. Re: the eternal life power, the alien says:
“That power is reserved to the Almighty Spirit. This technique, in some
cases, can restore life for a limited power.”

At another point, Forrest J. Ackerman, a magazine editor/archivist, says of
this movie, approvingly: “We didn’t have a man and his robot come here to
rule the world. He came here to warn us we better straighten up and fly right
or we’re going to fly right out of the solar system and be burned to a cinder.
It was nice for a change to have a very charismatic individual from another
world rather than a villainous one.”

Nick Redman, a film historian, says this movie “revealed to the audience a
truth that had been hidden from them which was to put our fears and
phobias and hysteria to one side and learn to love one another.”

Director Robert Wise says of his film: “I think it was a very important
message that we all believe in very much: Let’s stop fighting and having
these wars.” Co-star Patricia Neal says The Day The Earth Stood Still was “a
divine film.”

Well, now. Speaking of the “divine,” some of this sounds very familiar. A
warning from someone not of this world to shape up or be scorched? A
preacher of a hidden truth by a charismatic person calling for, among other things, love? No more wars?

Hmmmmm. Sounds a little like the Lord Jesus Christ, no?

Lofton’s illustration is proven over and over again in movies ranging from ET
to Bladerunner. Man is depicted to be his own god, and aliens from outer
space or another dimension or parallel universe are his teachers and
benefactors.

An Unquenchable Passion for Blood and Death

The movie Gladiator does not press these same claims of humans as deity.
Its plot and images appear to have other goals in mind, including possibly the
revival of giving reverence to and worshipping the ancient gods and
goddesses of Rome and Greece. Moreover, Gladiator appeals to the 21st
century’s unquenchable passion for thrills, blood, carnage, violence, brutality,
and death.
Clif Droke, publisher of Last Days Journal, made note of this moral aberration
and inhumane tendency on the part of modern society recently when he
wrote:

“The one central theme characterizing man’s dealings in these last days is
bloodlust... Blood is a theme that permeates the lyrics of nearly all forms of
popular music—rock, heavy metal, rap. It is evident in popular movies and in
contact sports, television programs, comic books, video games, and internet
sites.

The Wall Street Journal (Aug. 7, 1997), carried an article entitled, “Blood On
The Net: Computer Games See Red.” The article described a burgeoning
gaming industry for teenagers and young adults who favor games with
bloody, violent themes. Advertisements for these latest games are said to
ooze with blood: Young men are shown bathing in tubs of it; warriors clutch
dripping human hearts. One game features a sporty red speedster with an
optional hood ornament—a screaming, bloodied pedestrian.”

Gladiatorworld

It was not surprising, then, that it was recently announced that an
amusement park featuring the blood games based on the movie Gladiator
would soon be opened. We are graduating from Disneyworld to
Gladiatorworld in entertainment interest by the public. In the New Zealand
Herald newspaper (May 15, 2001), an article announced exactly this amazing
development:

Gladiator fights, chariot races, and the torturing of Christian slaves in a
lion-filled arena are poised for a comeback more than 1600 years after the fall
of the Roman Empire.

The spectacles will take place in France, in a massive, purpose-built arena
inspired by the Colosseum in Rome, where some of the bloodiest scenes in
Roman history took place.

But if all goes well, any blood on the sand will be fake, for the gory thrills are
part of an amusement park in western France, the Grand Parc, to cash in on
the excitement generated in Europe by the Hollywood toga epic, Gladiator...

The Grand Parc claims the stadium will be a “jaw-droppingly” exciting
recreation of a real Roman arena... seven lions and tigers will prowl...

In this article from the New Zealand Herald newspaper )May 15, 2001, P. B2),
It was reported that, in France, and arena is now being built to house
modern-day gladiator games.

Imagine! The new Gladiator amusement theme park is being opened in the
very same country, France, in which, only a couple of centuries ago, real
blood games were held, with thousands of innocent victims heads chopped
off by the guillotine as chanting and roaring mobs raged with approval. Many
of the suffering victims were guilty of only one crime—they were Christians!
Were these bloodlust mobs and onlookers in 18th century revolutionary
France any different than the blood-crazed crowds who sat in the Colosseum
in Rome and in arenas throughout the Roman Empire centuries earlier?
Could it be that the Christians who were sacrificed in the Roman arenas and
those who were later tortured and murdered in the cities of France by
guillotine and other heinous methods will be joined by 21st Christians? It
seems too preposterous to contemplate.
Surely, one might object, mankind has acquired greater compassion and
sensitivity in the intervening years. “Surely,” the cheery optimist objects,
“modern man could not be induced to commit such atrocities. Not today. Not
in America. Not on a civilized Planet Earth!”
Spirit of Bloodlust

But, in fact, the monstrous horrors of 1940s Nazi Germany, 1917-1986
Communist Soviet Russia, 1980s Khmer Rouge Cambodia, and, surprisingly,
the first decade of 21st century America, demonstrate that the spirit of
bloodlust lives on, unquenched, destructive. Indeed, the federal authorities of
the United States proved this same satanic spirit of blood games thrives in
their murderous attack on Ruby Ridge, their siege, torture and burning to
death of 83 innocent men, women and children in Waco, Texas, and their
complicity in the bloody bombings of the World Trade Center and the Murrah
Federal Building in Oklahoma City, Oklahoma.
“What!” you exclaim, “Are you saying that the federal government lawmen
and the elite were either involved in or masterminded the horrors of the
World Trade Center and Oklahoma City bombings?” Again, popular culture
and entertainment provide the startling answer.
Take, for example, the carnage in Oklahoma City. Did Oklahoma Governor
Frank Keating help to coverup the awful truth of government involvement in
the “terrorist” bloodletting in his state? In fact, the evidence is staggering
that the answer is, yes. The object of the Oklahoma City bombing by the
government was to conduct a prescribed “Blood Game” to anger and excite
the American public against a designated enemy: patriots, nationalists, and
militia. Keating’s state of Oklahoma presumably was chosen because the
Governor formerly had been an FBI agent and also once had served as
Assistant Secretary of the Treasury in Washington, D.C., supervising the
Secret Service, U.S. Customs Service, and the notorious and murderous
Bureau of Alcohol, Tobacco, and Firearms (ATF). Other members of the
Keating clan were active in government intelligence.
Now comes the shocker! Is it just a curious coincidence that the Governor’s
own brother, Martin Keating, authored a manuscript for a novel in 1991, four
years before the actual Oklahoma City bombing and slaughter, a novel which
amazingly foresaw key events of the terrorist act? The manuscript by Martin
Keating, titled The Final Jihad, had for its plot an account of terrorists, based
in Oklahoma City, who decide to bomb a federal building. And the name of
one of the terrorists in Keating’s book is—get this—a “Tom McVey!” That’s
right, Tom McVey.
Now for the clincher: In The Final Jihad, this supposedly fictional novel by
Keating, the terrorists are apprehended when their car is stopped by an
Oklahoma highway patrolman for a broken taillight. This, of course, we are
told by the FBI, is exactly how the real Tim McVeigh was caught.
Was Martin Keating’s manuscript secretly used by the federal authorities as
the blueprint for their undercover “Blood Game” project—the bombing of the
Oklahoma City federal building and its massive loss of life? It should be noted
that actual victims were not law enforcement agents but little children and
lower-level government workers—administrative clerks, social security
employees, postal sorters, etc.
Was the real Timothy McVeigh simply a hapless patsy, the same kind of patsy
as was luckless Lee Harvey Oswald some four decades prior?

Moreover, was the slaughter of 168 men, women and children in Oklahoma
City carried out according to a preapproved “movie script?” I was not
surprised to hear recently that CBS-TV is planning a dramatic mini series
based on the bombing and on the execution by lethal injection of designated
patsy, Tim McVeigh (aka Tom McVey?).