Hidden Hyperspace Kingdoms for the Elite: Daumal’s Mt. Analogue, Disney’s Plus Ultra Tomorrowland, and Ayn Rand’s Atlantis

I have already mentioned the pillars of Jachin and Boaz used on Masonic tracing boards, and on our Ouija board. But on some Masonic tracing boards, there are actually three pillars. Between the pillars of “Strength” and “Mercy,” there is the pillar of “Beauty,” corresponding to the middle pillar on the cabalistic Tree of Life.

On Masonic tracing boards, this pillar is shown as physically behind the other two, and more towards stage left than right. In other words, it is implied that this third pillar was invisible before from your previous perspective (when you saw the more commonly-depicted two pillars). Hidden behind the pillar of Strength, like the castle of the princess Briar Rose hidden beneath the bramble in Perrault’s tale, is the “Sleeping Beauty” of the middle pillar that most do not see, but which provides, in cabalistic tradition, the most direct route to the highest form of enlightenment.


This hidden path is indicated frequently on Masonic tracing boards by a staircase leading up to a hidden portal of light shown up in the sky, off in the distance. This is indicated by the depiction of a light source shining brighter than the Sun and Moon that are usually placed above the left and right pillars, respectively. It is shown variously as another, brighter Sun, or as the letter G inside of a hexagram, or inside of a square and compass, or some combination of these things. I have even seen it drawn as just an opening in the sky with light shining through it.


Leading up to that opening, there is usually a pathway which appears physically impossible. It is either a ladder (like a painter’s ladder) leaning up against seemingly nothing, or a staircase or road that appears to twist in a non-Euclidean trajectory.

Ladder to the Sky, leaning on nothing, with the key dangling out ahead, baiting you onward

This is because the positions of the three pillars form a right triangle when viewed from above. This shape is the subject of Euclid’s 47th Proposition, which Albert Pike summarized as well as anybody in his Masonic instruction manual, Morals and Dogma:

In every right-angled triangle, the sum of the squares of the base and the perpendicular is equal to the square of the hypotenuse.

The hypotenuse is that third, longer line connecting the other two, and its name comes from a Greek word that means “stretching under.” The 47thProposition, and the image of its geometric calculation, is utilized heavily in Masonic ritual. By that I am referring to the visual demonstration of it, which consists of three squares composed of other squares, often (especially on Masonic devices) presented as black and white chequerboards.

Pythagoras and the 47th Problem of Euclid

The smaller of the three big squares forming the triangle has 36 squares. That’s the square of 6…. The middle size of the three big squares has 64 squares. That’s the square of 8 and the cube of 4. The largest of the three big square contains 100 squares. That’s the square of 10, and this layout is what you get when you surround the 64 squares of a chessboard with another 36 squares.

But what does this have to do with a ladder leading to a portal in the sky, leaning up against empty air or a paved street spiraling off from the ground into the clouds, with no visible means of support? After all, a right triangle is something drawn on a two-dimensional surface, right? How does that relate to what’s being shown in the Masonic tracing boards with three pillars?

Recall that the positions of the three pillars form a right triangle when viewed from above. What the Masons are trying to show their initiates is the idea that, when viewed from another angle beyond the third dimension, the thing supporting the staircase or ladder is visible for those with eyes to see it. But the light bouncing off this thing or group of things is traveling at an angle (or on a “wavelength”) that makes it invisible to normal human eyes.

…according to Masonic rituals and literature, while ostensibly representing “Solomon’s Temple,” this tracing board also represents “the world.” Specifically, it denotes the Old World, or as Masonic writer Albert Mackey, in the Lexicon of Freemasonry, writes, “the world as it was known in Solomon’s time,” and further, the entire “universe” itself!

For visual aid, look at the tracing board example below, which was actually designed to be a carpet laid out on the floor of the lodge during a ritual. There is a directional compass around the edge, showing you how to orient it on the floor of a Masonic lodge. The part of the picture containing the sky is pointing towards the East. The observer is standing in the West. Therefore, the pillars that are in front, the ones we more commonly see appearing to stand on either side of each other, supposedly flanking the entrance to Solomon’s Temple, are synonymous with the North and South Poles.

Albert Mackey further explains the connection between the floor of the lodge and geography:

The form of a Masonic lodge is said to be a parallelogram or oblong square—its greatest length being from East to West—its breadth from North to South. A square, a circle, a triangle, or any other form but that of an oblong square would be eminently incorrect and unmasonic, because such a figure would not be an expression of the symbolic idea which is intended to be conveyed. At the Solomonic era—the era of the building of the Temple at Jerusalem—the world, it must be remembered, was supposed to have that very oblong form, which has been here symbolized. If, for instance, on a map of the world, we should inscribe an oblong figure whose boundary lines would circumscribe and include just that portion which was known and inhabited in the days of Solomon, these lines running a short distance North and South of the Mediterranean sea, and extending from Spain in the West to Asia Minor in the East, would form an oblong square, including the southern shore of Europe, the northern shore of Africa, and the western district of Asia, the length of the parallelogram being about sixty degrees from East to West, and its breadth being about twenty degrees from North to South. This oblong square, thus inclosing the whole of what was then supposed to be the habitable globe, would precisely represent what is symbolically said to be the form of the lodge, while the Pillars of Hercules in the West, on each side of the straits of Gades or Gibraltar, might appropriately be referred to the two pillars that stood at the porch of the Temple.

A Masonic lodge is, therefore, a symbol of the world. This symbol is sometimes, by a very unusual figure of speech, extended, in its application, and the world and the universe are made synonymous, when the lodge becomes, of course, a symbol of the universe. But in this case the definition of the symbol is extended, and to the ideas of length and breadth are added those of height and depth, and the lodge is said to assume the form of a double cube. The solid contents of the earth below and the expanse of the heavens above will then give the outlines of the cube, and the whole created universe be included within the symbolic limits of a Mason’s lodge.

The form of a Lodge should always be an oblong square, in length, between the East and West; in breadth, between the North and the South; in height, from earth to heaven; and in depth, from the surface to the center.This disposition serves to indicate the prevalence of Freemasonry over the whole face of the globe, guarded by its laws, and ornamented by its beautiful tenets. Every civilized region is illuminated by its presence. Its charity relieves the wretched; its brotherly love unites the Fraternity in a chain of indissoluble affection, and extends its example beyond the limits of the Lodge room, to embrace, in its ample scope, the whole human race, infolding them in its arms of universal love. The square form was esteemed by our ancient operative brethren as one of the Greater Lights, and a component part of the furniture of the Lodge. The double cube is an expressive emblem of the united powers of darkness and light in the creation.

Amazingly, the United States one-dollar bill also conforms to the same dimensions of the oblong square. (See my article here and this image below).

On a globe model of the Earth, the North and South Poles are an equal distance apart. But on the flat Earth disc model, the North Pole is in the center, closer to where most of us live, while the alleged “South Pole” is actually a ring all around us, the outer edge of which (Antarctica, and ice wall, they say), is further away from us, and inaccessible to most. Beyond the ice, and the firmament dome that allegedly sits on top of it, is the chaos of the Abyss—both above us and below us, just as the spirits on the Ouija board indicated to us.

In Aleister Crowley’s Book 4, on a page directly opposite a reproduction of John Dee’s Sigil of Aemeth (a.k.a. “Sigil of Truth” or “Sigil of God,”) there are a few lines reminiscent of Albert Mackey’s description of a Masonic lodge, as quoted above:

What is the length of this Temple?

From North to South.

What is the breadth of this Temple?

From East to West.

What is the height of this Temple?

From Abyss to Abyss.

There is, therefore, nothing movable or immovable under the whole firmament of heaven which is not included in this [John Dee’s] pentacle….

This resembles a quotation from Psalm 72:8[6]:

He shall have dominion also from sea to sea, and from the river unto the ends of the earth.

This line is written in Hebrew on the outer circle around the Second Pentacle of Saturn as presented in the Key of Solomon. This pentacle includes the Sator-Rotas magic square that has a Mithraic origin, and which I used as a plot device in my novel Genuflect. But in the edition edited by S.L. MacGregor Mathers, he quotes the end of the line as “from the flood unto the world’s end.”

Second Pentacle of Saturn from the Key of Solomon

That makes it sound like it’s an epoch of time, but I also take the “flood” to be the Abyss, and the “world’s end” to be the literal extremities of the world/universe. Uranus told us in the séance that time only exists within the enclosure of our world, so that makes the end of time and the “world’s end” the same thing. Thus to exit the world is to step or slide out of time, just like the “Mason’s step,” a maneuver done in ritual when the heel of one foot is slid across the floor and up against the heel of the other foot at a 90-degree angle.

Returning to the subject of the universe depicted on our uniquely-designed Ouija board, the “floor” of existence is shown as just the waters of the Abyss. It was indicated by Mithras and Uranus that these are the same waters you end up in when attempting to exit the firmament above. This means going in a loop: going “underneath” the universe, as was implied in our séance when the planchette was moved underneath the board briefly and deliberately.

On the cover of Manly P. Hall’s book The Secret Teachings of All Ages, there is an illustration showing a young male Egyptian on standing on top of a pyramid with no capstone, just like the one found on the Great Seal of the United States featured on the back of the one-dollar bill. He is making essentially the same gesture, with his arms and his eyes raised up to heaven. In his left hand he holds an ankh that shines at the top like a magic wand. The same picture in found in the middle of the book, with the following explanation:

In this picture is concealed the allegory of the Lost Word. The Master Mason, having completed his labors, becomes a worker on a higher plane than the one in which the ordinary builder is permitted to work. The Master Mason becomes the capstone of the Universal Temple.

But did Solomon’s Temple ever even really exist in physical reality? Considering what I told you before about Russian researcher Anatoly Fomenko’s research into the potential falsehood of the chronology of history, and the fakeness of all ancient history, I am quite skeptical. When it comes to the “Holy Land” over which people have been fighting for centuries, they may all be projecting a mirage onto a barren landscape. In The Key to Solomon’s Key by Lon Milo Duquette, Thomas L. Thompson, Professor of Old Testament, University of Copenhagen, is quoted as writing:

In writing about the historical development of Palestine between 1250 and 586 (BCE), all of the traditional answers given for the origins and development of ‘Israel’ have had to be discarded. The patriarchs of Genesis were not historical. The assertion that ‘Israel’ was already a people before entering Palestine whether in these stories of in those of Joshua has no historical foundation. No massive military campaign of invading nomadic ‘Israelites’ ever conquered Palestine. There never was an ethnically distinct ‘Canaanite’ population whom ‘Israelites’ displaced. There was no ‘period of the Judges’ in history. No empire ever ruled a ‘united monarchy’ from Jerusalem. No ethnically coherent ‘Israelite’ nation ever existed at all… In history, neither Jerusalem nor Judah ever shared an identity with Israel before the rue of the Hasmoneans in the Hellenistic period.…

Furthermore, there is almost universal agreement that the works [of the Old Testament] cannot be traced any further back in time than the sixth century BCE. Prior to this the historical and archeological fingerprint of a Hebrew people united by a single religion occupying a nation with its headquarters in Jerusalem is non-existent. Indeed, according to Norman F. Cantor, Emeritus Professor of History, Sociology, and Comparative Literature New York University, Rhodes Scholar, Porter Ogden Jacobus Fellow at Princeton University, and Fulbright Professor at Tel Aviv University:

‘The first millennium of Jewish history as presented in the Bible has no empirical foundation whatsoever.’

Perhaps when Hall talks about the Master Mason working “on a higher plane,” he means working in a dimension in which one’s works are not necessarily visible. Maybe that’s why the capstone is missing: you can’t really see it. Or according to Hall, you are the capstone, and when you get to that level, that becomes your work. What appears to be a place for a capstone from the ground level is really the location of the cornerstone for a temple built in a higher plane.

This made me think about the capstone on the pyramid on the Great Seal of the United States, featured on the back of the one-dollar bill. The capstone has the All-Seeing Eye on it, and it’s shining while floating above the rest of the pyramid, which has a truncated top, just like the one the man is standing on top of in The Lost Keys of Freemasonry. It occurred to me that perhaps there is someone holding the capstone there that we can’t see, because they are operating from a dimension that is mostly invisible to us.

This then caused me to ponder once more the line from the mysterious poem Le Serpent Rouge, published by the Priory of Sion. Its purported authors of which (Louis Saint-Maxent, Pierre Feugere, and Gaston de Koker) were purportedly all found hanged to death shortly after its publication (although I suspect the real author to be Jean Cocteau). In the poem, the narrator is seeking the hidden place of a “sleeping beauty that he openly identifies as the goddess Isis. But the top of the mountain where she actually resides in repose is invisible to him, for as he states, “It seemed impossible for me to see the summit here the marvelous sleeping one remained hidden.” But then at a certain time of day—noon, to be exact—it becomes visible to him.

Thus he is allowed to enter what is blatantly described as “a new temple of Solomon.” A website dedicated to the Priory of Sion subject, Rhedesium.com, has an article pointing out that because of the Sun’s angle relative to the observer during “solar noon,” this is one of the few times in which it puts out “pure white light” amongst its rays, something that was apparently noted in the optics experiments of Isaac Newton.

Well, all of this seems to connect directly to the plot details of the novel Mount Analog by Rene Daumal, published in 1952. It describes a team of explorers who deducted from the distribution of land mass on a globe earth that there is an invisible mountain, larger than any other on Earth, out in the middle of what appears to be the ocean. They figured that this would be needed to to gravitationally counterbalance what appears to be a concentration of land on one half of the globe. As the leader of the expedition, M. Sogol (“Logos” spelled backwards) explains:

It is simply the bizarre apportioning of dry land and sea, which divides our globe more or less into a ‘hemisphere of land masses’ and a ‘hemisphere of oceans.’

The Hemisphere of Water, as shown by Google Earth

By analyzing the Earth’s land masses, and drawing meridians through them, Sogol notes that they cross in the Ukraine (coincidentally where a Malaysian Airlines plane met a mysterious ill fate in 2014). Sogol then extrapolates from this (in a rather more complicated way) that the mountain is most likely situated somewhere in the South Pacific. Later, after they find it, they learn that it is invisible because it is made of a form of diamond called peradam, so dense that it can bend light around it! It is:

…a clear and extremely hard stone, spherical and of variable size. It is a true crystal and—an extraordinary instance entirely unknown elsewhere on this planet—a curved crystal. In the French spoken in Port o’Monkeys, this stone is called peradam. Ivan Lapse is still puzzled by the formation and the root meaning of the word. It may mean, as he sees it, ‘harder than diamond,’ as is very much the case, or else ‘father of diamond.’ And some say that diamond is in reality the product of the disintegration of peradam by a sort of squaring of the circle or, more exactly, cubing of the sphere. Or else the word may mean ‘Adam’s stone’ and have some secret and profound complicity with the original nature of man. The stone is so perfectly transparent and its index of refraction so close to that of air in spite of the crystal’s great density that the inexperienced eye barely perceives it. But to any person who seeks it with sincerity and out of true need it reveals itself by a brilliant sparkle like that of a dewdrop. Peradam is the only substance, the only material thing, whose value is recognized by the guides of Mount Analogue. Therefore it remains the basis and standard of all currency, like gold in many countries.

How Mount Analogue bends light. Illustration by Daumal.

Just like the peradam itself, Mount Analogue remains invisible except to those who seek it, know where to look, and are worthy of finding it:

High up and far off in the sky, above and beyond all the successive circles of rising crests and whitening snows, in a dazzling brilliance the eye cannot bear, made invisible by excess of light, Mount Analogue lifts its ultimate peak. ‘There, on a summit as pointed as a needle, broods the solitary being that occupies all space. Up there, in the rarefied air where everything freezes, subsists the crystal of ultimate stability. Up there, unprotected from the sky where everything burns, subsists the perpetual incandescence. There, at the still centre resides the Being who beholds each thing accomplishing its beginning and its end.

Rene Daumal

And now we have landed on the unknown continent, this kernel of higher substances implanted in the earth’s crust, protected from the eyes of the curious and the greedy by the curvature of its space—like a drop of mercury, impenetrable by virtue of its surface tension to the finger that seeks its center.

The manner in which the mountain reveals itself to them is similar to how the narrator in Le Serpent Rouges discovers the “hidden summit” of his sought-after holy mountain. It happened during a certain time of day, specifically, “just as the sun was going to disappear over the horizon.” On the island, the horizon is a bit different than elsewhere on Earth. As the narrator describes it:

…it rises perceptibly from dawn to noon following the sun, then sinks from noon to dusk by an optical phenomenon Sogal is racking his brains to figure out…


Their cameras don’t even work there because of the alleged “gravitational” effect of the mountain on the light. Amazingly, to bolster the claim that the cause of the seeming optical displacement is gravity, the narrator cites an observation made by astronomers during a solar eclipse! He says:

Now suppose that this invisible structure around the continent repels not only so called material bodies, but light rays as well. The navigator aboard the ship will sail around it not only without touching it but without even seeing it.

…I imagine that a body does in fact exercise a repellant action of this kind on rays of light which pass close to it. This fact, predicted by Einstein, was verified by astronomers Eddington and Crommel on 30 March, 1919, during a solar eclipse. They established that a star can still be visible even when, in relation to us, it has passed behind the solar disk.

Ships sail around the invisible continent without even sensing it. Illustration by Daumal.

That date of March 30 just so happens to be the date on which the pre-Easter rape and murder rituals in my novel Genuflect begin, for the purpose of causing the death of the Sun, and in the story, several solar anomalies are created by doing this, making for a spectacular show in the skies over the City of London. It’s also just a day before the date on which John Dee published Monas Hieroglyphica. Furthermore, the alleged “bending” of the light of the stars during a solar eclipse is seen by flat-Earthers as evidence that of the correctness of Einstein’s general theory of relativity, but of the idea that the cause of eclipses is has not been adequately explained by science. Curiously, the date given in Mount Analogue for when this solar eclipse and optical experiment took place in 1919 is incorrect, either because of an error, or because it hides a secret message. The actual date of these events was May 29 of that year, not March 30.

Phaedrea and Oenone by Jean Cocteau. Oenone, with blue skin, pointing at flat water and flat horizon with rainbow headband. Map of Earth appears subtly on Phaedra’s blue skin.

In the story of Mount Analogue, the “invisible mountain” is presented as a place suitable only for the elect. It is run in some ways as a brutal regime. Those who cannot obtain the necessary money to sustain their livelihoods there are condemned to death. This is a real danger, because a debt is incurred as soon as you arrive on the shores of the mountain’s hidden island continent. As the narrator explains:

The guide who received us had handed over to us, as an advance, a sack of metal tokens that serve as currency to exchange for goods and services…. Each new group of arrivals receives this form of advance to cover initial expenses….

This debt must be repaid, and so, says the narrator, many people do odd jobs to try to earn the money to pay it off—much like illegal immigrants in the modern world often become indentured to whoever aids them in the passage to their new home. But usually, the narrator implies, this type of work doesn’t yield enough money tokens to repay the debt. “The only true means of repaying one’s debt in full is in peradams,” he says. When a member of his party asks the natives what would happen to them if they didn’t succeed in repaying the debt, he was told:

When you raise chickens… you give them grain, which they have to pay back in eggs once they become hens. When a pullet doesn’t begin laying eggs at the proper age, what becomes of it?

These words were taken rightly by the travelers in the story as a death threat. Perhaps this has something to do with Daumal not finishing the book, which ended abruptly right after his characters’ arrival on the island, called by the character Sogol “the path uniting Earth and Heaven.” He had begun working on it in 1939, just after being told by a doctor that he would probably not live long because of having suffered through years of tuberculosis. The writing was interrupted for three years by the German occupation of France, which forced him and his wife to flee to various locations, suffering much. Daumal wrote two more chapters in 1943, but relapsed while working on it, leading to his death in 1944. He was working on it the very day that he died, at age 36.

Sometimes I think certain truths are not yet publicly known because the people who would tell you about them are always killed before they can finish composing an intelligible explanation—which sometimes requires the form of fiction, poetry, music, or some other form of art. They are killed by those who would rather not have the hidden path to Eden revealed to the public, and I don’t think the interested parties are limited to incarnated humans. Divine secrets simply cannot be revealed before you are struck by lightning from above.

The idea of creating a secret invisible place on Earth for the “elect” to hide in shows up in Ayn Rand’s Atlas Shrugged. There, society’s elite, lead by a renegade genius engineer, decide to rebel against society’s needy, useless masses and retreat into a hidden world of their own. It’s an invisible realm they’ve named “Atlantis,” hidden inside the Rocky Mountains by some kind of force field invented by the society’s founder, John Galt. This little modern-day Saturn (Lord of Misrule during the legendary “Golden Age”) populated his hidden kingdom of perfect anarchy with society’s true elite. Galt selected them personally and, one by one, presented them with an offer that, for some reason, none of them chose to refuse.

The result is that each of them decides to walk out on his or her life, including all business and family obligations, so that they can disappear into “Atlantis” in the Rockies, and live without rules or expectations in this land of perfect freedom. In so doing, most of them chose to commit some catastrophic act of sabotage against their own handiwork. Mines, factories, and railways are blown up with explosives, leaving heaping, burning piles of ruin, including a petroleum fire that nobody can put out because everybody smart enough to figure out how has already disappeared into Atlantis.

The man who does this last act in particular leaves behind a sign stating “I’m leaving it as I found it.” This is all connected to the title, of course. It’s a “fuck you” to humanity. The message is: “We, the ‘Titans of industry’ who keep the sky from falling like Atlas, are going to ‘shrug’ and let everything collapse on top of you.” This is the “shrug of ‘whatever’” embodied in the Cremation of Care ceremony at Bohemian Club meetings. The Lake of Fire imagery in the scene mentioned above (the burning pit that cannot be extinguished) is a clear channeling of the spirit of those trapped in Tartarus, enslaved and forced to hold up the pillars of Heaven and Earth (or “Solomon’s Temple,” as its presented in The Testament of Solomon).

The little snot who gets this all started—John Galt—invents a free energy machine (a “mini particle accelerator” harvesting atmospheric energy, as it’s described with unintentionally comedic sincerity in the film version). But then he realizes how much he hates humanity, and that they don’t deserve to benefit from his invention. In fact, he decides to take it upon himself to teach society a lesson. So he runs away, vowing as he leaves to “stop the engine of the world.”

He plans to do this by persuading all the other “pillars of society” like himself to following him to his hidden underworld of Atlantis. Inductees are all forced to spend the first night alone in a particular room in John Galt’s house. (Weird, right?) They are made to take a vow “never to live for another man, and to never ask another man to live for me.”

Actually, Rand commits the common mistake of writing that Atlas holds up “the world,” rather than the heavens. But maybe this was done on purpose, considering the tradition in Solomonic magic that the world’s foundations are being held up by demons enslaved in the underworld. After all, Rand’s real name was Alice Rosebaum, but she chose to name herself something remarkably close to the Hebrew “Ayin” (“eye”) and “Ain” (“nothing,” sometimes transliterated as “Ayen,” and even, when from Arabic, as “Ayn”). Biologically Jewish and raised in an allegedly “non-observant” Jewish household, she probably would have at least been aware of the dictionary meaning of her chosen pen name (if not also the esoteric expansion of that meaning). The eye and the zero are two cabalistically significant and related concepts. As Aleister Crowley wrote in the footnotes to The Book of Lies:

In Hindu philosophy, it is said that Shiva, the Destroyer, is asleep, and that when he opens his eye the universe is destroyed—another synonym, therefore, for the accomplishment of the Great Work. But the ‘eye’ of Shiva is also his Lingam [his penis]. Shiva is himself the Mahalingam, which united these symbolisms. The opening of the eye, the ejaculation of the lingam, the destruction of the Universe, the accomplishment of the Great Work—all these are different ways of saying the same thing.


I’m not quite sure if this line is in her book or not, but in the film version, the main character, Dagny, actually calls the man who sabotaged her #93 railroad line by the same title as Shiva. “You destroyed my line!” she says. “You’re the destroyer.”

Though she never professed to have interest in anything mystical (quite the opposite), and Aleister Crowley never mentioned her by name, the two were contemporaries, and there are numerous thematic similarities between the writings of both people. Satanic church founder Anton LaVey was an open admirer of hers, and described his invented religion as “Ayn Rand with trappings.”

Whether or not she was a practicing Satanist, she was definitely channeling occult—and specifically Thelemic (Crowleyan)—themes in her work, as evidenced by her choice of the number 93 for the railway line that figures in a pivotal scene in the novel. I certainly wouldn’t put it past the woman to choose a cabalistically-significant pen name for herself, or to embed such themes in her stories.

As a relevant aside, also, note that there are projects at the CERN large-hadron collider in Switzerland named “ATLAS” and “ALICE.” These names were chosen because the quantum physics projects taking place there are about discovering the foundations of the universe (like Atlas), probing the hidden depths of matter (like Alice down the rabbit hole), and creating portals to parallel universes (like Alice through the looking glass). This is disturbing to some observers because CERN has been the target of numerous internet conspiracy allegations claiming that its experiments are intended to open up a portal to Hell and/or to destroy the entire world/universe… all for the love of Satan, of course. One of the pieces of evidence for this is that they have a statue of Shiva the Destroyer on the grounds of their campus.

CERN’s logo for the ALICE project, showing the portal to the underworld/otherworld underneath a blue (Royal?) arch

The scientists at CERN are also accused by conspiracy theorists of affecting reality in subtle ways, creating changes in the group consensus of historical memory, a phenomenon known as the “Mandela Effect,” similar to what’s done to the human victim population in the plot of the film Dark City, described earlier. I immediately thought of this when watching the beginning of the third Atlas Shrugged film, which continues the cliffhanger scene that ended the second movie. The Mandela Effect came to mind because in the middle of the scene (which they replay from its start), after the lead character Dagny crashes through the invisible barrier covering Atlantis, the woman playing her role is abruptly switched out for another actress. Wikipedia says that this was done because budgetary constraints prevented the producers from continuing with the same actress.

Whatever the reason, the effect is jarring. After the woman’s plane goes through the portal into what is essentially an artificial alternate dimension, her physical appearance change completely, yet nobody else in the scene seems aware that anything is different, just like the people in Dark City don’t notice the world around them being changed constantly. In fact, as he helped her out of the rubble of her airplane, John Galt described her as though she were a fallen angel, saying:

Dagny, for a woman that just fell out of the sky, you look pretty damn good.

As I watched all three installments of the film version of Ayn Rand’s novel, I couldn’t help but wonder if the hidden realm of Atlantis already exists: if she was either prophesying the future, or even issuing an invitation to the elite, kind of like the old Rosicrucian Manifestos were meant to. I mean, what if David Bowie and Prince were really taken to Atlantis to perform for the real, unknown 1% in their invisible paradise?

For years we have been told that “the elite” are cashing in their accounts and retreating to private islands, tax havens, underground bunkers, and the like, preparing for the collapse of post-industrial capitalist society. How far back in history does this trend go? We know that most large office buildings in big cities are predominantly empty. There are tax incentives for owners to sit on them rather than sell them. Sometimes it’s even more profitable to allow a building to be destroyed somehow, and take the insurance money.

All of the heroes in Ayn Rand’s stories are into destroying their own buildings and factories, a theme that also appears in her earlier novel, The Fountainhead. In that story, a genius architect dynamites an apartment building for low-income families that he was hired to design, because the owners ended up having the builders change something about his blueprint. When the Grenfell Tower, a low-rent high-rise went up in flames in London in June 2017, I must admit that I thought about Rand’s characters.

I found myself wondering if the elite really are into destroying buildings as some sort of revenge against the poor masses whom they despise. I recalled that in 120 Days of Sodom, the Marquis de Sade described men whose sexual fetish of choice involved renting out properties to single mothers with faults intentionally built into the design so that shortly after they took residence, the rooves would collapse on the women and children, giving pleasure to the cruel landlord who had set the whole thing up in the first place. Nowadays, in addition to the joy of committing murder and inflicting pain, the perpetrator would probably also be rewarded with a nice insurance settlement.

So in August 2016, when I re-watched The Fountainhead movie from 1949 with Gary Cooper and Patricia Neal (which I had seen before years ago), and finally forced myself to struggle through the Atlas Shrugged film series, I noticed this running theme involving the wanton destruction of one’s own work and property to punish the masses for their ignorance. I couldn’t help thinking about 9/11. Was Larry Silverstein “going Galt” when he made the decision to “pull it” on building 7 that day? …

A similar plot device involving the elite creating a hidden society for themselves, run with technology that they don’t think the masses are “ready” for yet, shows up in Disney’s “Tomorrowland” franchise. Apparently, in addition to the areas with this name found at Disneyland and Disneyworld, there are a couple of Disney films with this title, one old and one more modern. The idea is that “Tomorrowland” is a secret realm accessible through a hidden entrance in one of the rides at Disneyland.

In the story, Tomorrowland is run by a secret society called “Plus Ultra,” the old motto about the New World beyond the Pillars of Hercules. The symbolic implications of this should be obvious to you by now. The members of Disney’s imaginary Plus Ultra group have included (quite improbably) both Thomas Edison and Nikola Tesla. One of the videos below (put out as part of a game, I think) even suggests that children at Disneyland are abducted and taken to the hidden realm of Tomorrowland surreptitiously. The secret entrance opens up automatically for kids who have been pre-selected by undercover agents and marked with a special lapel pin. And check out this website, STOP PLUS ULTRA, that seems to be following the subject (again, as part of what seems to be an online role-playing game).

I think this detail about Plus Ultra’s special lapel pin for their chosen child victims may be a reference to a real elite secret society at Disneyland that does actually issue lapel pins to its members, and that’s Club 33. You can read all about it on numerous other websites. Ostensibly, it’s innocuous, but the number they chose implies a connection to the highest level of Freemasonry (the 33rd degree, which does not “officially” even exist). It’s also the number of sections on the Earth map in the UN logo, and the number of facets on the crown of a round brilliant-cut diamond.

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