Yes, of course, we should open a new thread under the heading:
What is the signification of the eye on top of the pyramid depicted on the reverse of the 1 dollar banknote?
Would you accept this just as a little, yet highly important evidence of a conspiracy tending to enforce a new world order, as suggested by the Latin inscription on the same side of the note?
Another kind of evidence to answer your question is the following:
If you have seen the movies ‘The Lion King’, (by Disney, though not Walt of course!), ‘Leon’ (by Luc Besson), and ‘The Chronicles of Narnia’, you may remember that they have one thing in common, i.e. the lion – in the first movie as an animal, in the second as human lion named ‘Leon’, and again as a lion named ‘Aslan’ with a human-like animated face and voice in the third movie where Aslan finally takes over Jesus Christ’s role as the savior of the world (note that being a pure agnostic, I’m not at all emotional about this).
The first two movies came out in 1995, which happens to be the 50est aniversary of the conquest of Europe by the (tiny) mafious fraction of the anglo-american descendents of the pharaohs, hence the third movie, out in 2005, was meant to celebrate the 60est anniversary of the same event.
Watch out for the Lion emblem, it is the underlying symbol of the Sphinx the “pharaohs” are always keen to highlight on memorable occasions.
Remember another movie: ‘The Prince of Egypt’, where rows of Sphinx statues are depicted with heads featuring fierce profiles with long hooked noses, very much like the noses of Ramses’ and Moses’ fathers’ – both sons too have extremely long noses. Presumably the underlying message is that this long nose is not a common heritage of the pharaohs, since the two youngsters are otherwise clearly depicted as stemming from distinct origins – the rest of the action is void of any interest.
You may object that Besson is a Frenchman. When asked why he went to New York to make such a violent movie, he said: “I just knew, I had to do it” (the same answer was given by Spielberg about his ‘Schindler’s list’).
Besson may have become aware that he had been exploited after having gained the hearts of millions of Europeans with his magic ‘Le grand bleu’, for the sake of making a political movie to glorify what was perceived by the public as a typical New York Jew (with his black bonnet, white shirt, long coat, black attaché case and big black shoes, whereas the name Leon betrays his true nature of a mafious descendant of the pharaohs). Besson seems indeed to have taken revenge with his movie ‘The Fifth Element’, which starts from the Egyptian pyramids as the origin of evil power – later in the film you can see the actor who played a mad drug investigator in ‘Leon’, in the role of a sort of Hitler commanding a squad of badmen with faces resembling somehow Yasser Arafat. During a short while the squad leader lifts his mask and you can se the head of a black man underneath, when “Hitler” orders him to put back on the mask because he “does not like to see that (black head)”. Still later, standing high up in front of his subordinates, “Hitler” is suddenly bleeding from a hole in his forehead, and an off voice behind him announces his doom.
The message seems to be that Hitler was sponsored by some Egyptian originated occult power to commit the evil and then, after having accomplished his task, doomed by the same power.
Note that these are just bits and pieces I can remember of a movie seen years ago – and please also note that my hypothesis about the predatory fraction of the far descendants of the Egyptian pharaohs, as being responsible for a series of historical crimes against humanity still going on, is well anterior to all these films. It is my earlier discovery of these ominous origins of modern super-power after decades of reading of, and extrapolating from press reports in Europe’s three major languages, that has led me to interpret these movies in the way exposed above.
