MBELDOG BLOG

Up is Down, Down is Up. Giselle "lands" on the above crosshair (stargate) pattern, which is actually the underside (I did not notice this on first viewing for some reason) of a 'man'hole' cover which she looks through, and we get the predictable one eyed shot (notice the pattern is similar to the above light reflection that flashed on screen). How she defies the law of gravity is anyone's guess; but it's purpose is to confuse the viewer (I did not notice it consciously, but you can bet subconsciously my brain was becoming more suggestible due to the subliminal confusion). She is mesmerized by the light eminating from the holes in the manhole, there appears to be 6 of them in the shape of a hexagon/cube. She emerges from the manhole in Times Square with all the New Yorkers staring at her (with different colours: purple, red, blue shining on everyone from the NY City lights) where she causes chaos (cars with symbolic numbers/letters on them crash, one checkercab has 9Z88 on it, one truck that drives towards her has CMP(=32) in big letters on the back of it). This is symbolic of everything being put on an MPD slave's shoulders, telling them that they are responsible for all the hell that's been unleashed on them. She is then dragged, through the crowd (she has no control over her body). The chaos she causes is symbolic of the chaos of trauma, that leads to the order (mind successfully split and controlled, Ordo Ab Chao-Order out of Chaos). This is also shown by the various electrical illuminated billboards on display (in Times Square), the barcode one which I showed in my Hitman post, and one that piqued my interest was The Color Purple (musical based on a book by Alice Walker about abuse of minors ((and the trauma inflicted on black people, illuminati racist ideology)), Stephen Spielberg made it into his eighth film), which is shown when she knocks over a sunglasses street seller's table (and a couple of times after that). A Bank of America electronic billboard is directly opposite from the Colour Purple one, symbolising who is largely responsible for hidden Illuminati abuse (the bankers, the ones who like to think of themselves as symbolically inhabiting the illuminated capstone, hence why they cap their banking buildings with pyramids/owls/squares/triangles etc. REVOLT!!!). Both electronic billboards are on corners which are symbolic of a triangle/pyramid (you'll notice that the corner is missing it's capstone, in typical illuminist fashion)

A little person/dwarf (used in programming, make MPD victim think they are fantastical creatures rather than normal people ((more confusing reality with fantasy)), in snow white and the seven dwarfs for example) gets caught under her white wedding dress (sexual allusion, white is a symbol of purity, the red electronic billboard to the right of the barcode one is for Virgin). She calls him, excitedly: "Grumpy!" (one of the aforementioned 7 dwarfs) he responds, grumpily "Jeez, lady. Are you for real?", she (in her dissociative state) does not know, she says "I think so..."


She is forced down narrow subway stairs then the camera pans over the pavement (this occurs in one shot, accessing another compartment of the mind, note the M and Z in circles, 13/M and Oz resonance then) before she goes up some stairs (symbolising an upside down pyramid), into a dirty/scarey place (two prostitutes are shown, more sexual allusions, with two subliminal pyramids made up of white/black triangles). There is also a black car there (reminds me of politicians' car), picking up a prostitute from the side of the road I presume... nice bit of subliminal education there for the kids. She excitedly approaches an old homeless man (stereotypical dodgey old looking guy, symbolic abuser she is programmed to "trust") who sits between twin red pillars. She says to him "I've never been this far away from home before, and I'm not sure at all where I am." this is a common theme in other mind control movies like Mirrormask and the Wizard of Oz. He steals her crown and runs off with it on a brick/cobbled road, leaving her in distress shouting "I need that!" (like Dorothy needs her Ruby slippers). I don't know what subliminal messages are being pushed into the viewer's young minds here in the graffiti and whatnot.

Enter: "McDreamy" (McD's, actors are created/programmed franchises like any other) Patrick Dempsey, Giselle's "real" prince charming. We find out he is a lawyer, an African American couple (the "Banks") are getting a divorce and arguing over who would get a 1954 "Henry 'Hank' Aaron" baseball card, there was (probably still is) a tonne of mind control going on in and around Baseball (which is essentially just the schoolgirl game "rounders", over here in the UK). He had a 23 year career, got 3,771 hits, career home-runs of 755, which is a record he held for 33 years before it was broken by steroid-filled mind controlled occult media pawn Barry Bonds. I personally think the programming is so advanced that they can trigger a sports player (any sport) to play well or not depending on their occult motivations (i.e "Bonds did not homer again until April 13, 2007 when he hit two (736 and 737) in a 3 for 3 night..."). Here, we also meet The Little Mermaid, her voice at least in Jodi Benson (interesting things she's been in, click link) who makes a cameo appearance as Robert Philip's (Dempsey) secretary (below, with grid pattern on a bridge which we go to later in the movie((the bridging, or lack there of; of the multiple personalities))) They stop again at another grid pattern (window frame as if to synchronistically confirm her status as a Disney Mind Control Slave), note the fact that the window is fogged, symbolising a prison that you cannot even see out of (because your "real self" is not there to see it). The African American couple arguing over the baseball card are called "The Banks" family, probably a reference to Mary Poppins' Banks family and where they visit a bank, sing songs about banks and all that (the banks are one of the main reasons we are in the mess we're in at the moment on this earth, everyone knows about the international bankers' dodgey dealings throughout history).

Giselle continues walking on her metaphorical yellow brick road (trying to find a non-existant castle, her emerald city) in the pouring rain. Above, she is covered by the green leaves of a tree, but I put this in to illustrate the purple I have discussed in recent posts, this seems to be focused on purpose (as if they are depicting exactly what I talked about, it being a subconsciously confusing colour because it is a mixture of two emotionally polarizing colours). "It is also the hardest colour for the eye to discern" which is a great link, I'm glad I found it as it backs up my own thoughts on the colour almost perfectly: "It is a combination of the excitement and sexuality of red and the tranquility of blue. The result: conflicting forces that need handling with care and daring [Oh it IS being "handled with care" all right, by the media making us more suggestible]. It is a polarizing color." She is triggered into another trance-like, extatic state by seeing a pink and sparkling Palace (casino, "Dreams Come True") billboard where she frantically knocks on the 2 dimensional yellow door (but she is not allowed back into that compartment of the brain that houses the idyllic fantasy alter-reality). Then the yellow cab "McDreamy" is in with his daughter, pulls up and she asks him why there is a princess on the castle billboard, he dismisses her off hand saying "It's an advertisement. It's a mannequin." which is symbolic of an empty vessel (the mind after it has been split, and the ones used in advertising) made as such through trauma, ready to be programmed to the programmers specifications (to fill up the empty/split mind with various personalities, each serving specific purposes).


'McDreamy' says to Giselle, referring to how her "prince charming" is not really coming: "It's tempting to see things the way you wish, instead of how they are." which resonates with Valentine's similar thing saying to Helena (in Mirrormask): "We often confuse what we wish for with what is." Both movies pertain to mind control, therefore we can assume that having similar phraseology is all part of the programming contained within them (potential trigger phrase variant). After this, she is amazed that she can feel anger. Alter personalities can be programmed to lack certain emotions, so it seems like a big deal (to the MPD victim) when the handler triggers that emotion back into being, by a trigger phrase. I think the film is portraying her being deprogrammed in a way, as she does not hypnotically join her prince charming in song and he asks her why, she says, "I was thinking.", he obviously has no concept of this (having his own thoughts, in this alter personality anyway) and says "Thinking?" in a confused manner. Then we meet the Queen's Mind Controlled Assassin, who is angry, Narissa (Queen) says she is going there herself and we have a shattered glass and covered face (symbolising facelessness) trigger sequence. Also pictured, Giselle at the bridge featured earlier in the post (with grid, yellow line, bald man in yellow T-Shirt, Prince Edward wearing ironic "liberty" ((Ishtar)) hat). And the kid in butterfly/fairy wings, infront of a Mirror.


Bill Kelly's original script for the film was considered 'unsuitable for Disney as it was a "a racier R-rated movie"', we can only speculate what kind of perverse mind-f**k that would have been. You can get all the necessary items for "Disney Princess Programming" (logic tells me that it is likely to be one) on their website, such as Giselle mirrors, costumes and dolls (though Giselle is not part of the official Disney Princesses, because they didn't want to pay for the life-long rights to Amy Adams' image).


To finish the post a couple of videos, first a trailer for the film then one of the musical bits from it (the music in it is good enough). Obviously I don't want people to suddenly stop watching films and TV just because these things are in them, we just need to be aware of what might be being put into our heads, without our knowledge in many (if not most) of the media (news/advertising/movies/TV).