Synchromysticism, Masonic Sorcery Theater, & The Three Narrative Levels

Is it possible, then, that Hollywood—and before even that, the world of modern theater—was conceived and created as a kind of proving ground (and breeding ground), for the recruitment and training of mediums or vessels—fractured personalities—by which the process of thought-form creation and entity possession could be developed and expanded on literally a global scale—and onto a world stage?

Certainly, in the writing of this present work, we should be prepared to entertain this possibility, however far outside the normal view of things it may be.

If this were the case, then the kind of “innocent” mapping of star trajectories and synchronicities between movie roles and plots and themes, etc, so beloved of the synchromystics, would take on a whole new dimension. It would need to be seen as part of a subtler, far-reaching, but somewhat less than “cosmic,” agenda, driven in part by human agencies, towards the end of what Levenda called “induced synchronicity.” In a word, mythic engineering, or Masonic Sorcery Theater.

From such a perspective, the death of Heath Ledger, to cite a handy example, would reveal several, separate but overlapping and intertwined, narrative levels. First of all, there would be Ledger’s personal history, his career path, and whatever process of training (or “entrainment”), grooming, initiation, compromise, and psychological “readjustments” he had to go through, not only to become an accomplished actor but above all to become a star—namely, to be allowed access to the inner realms of celebrity, to act as a chosen conduit for the hormone-fueled adoration of the masses. This aspect of things—Ledger’s progress from little-known Australian TV personality to world famous sex symbol, screen idol, and sacred cash cow for the Hollywood industry—is, to some extent at least, within the public domain of autobiographical fact and factoids. It is the first layer of the narrative, visible to all, at least in part. This narrative would show how Ledger’s own personal struggles for success and for excellence as an actor, led him finally to choose the role of the Joker, a role which offered Ledger a new level of fame, fortune, and recognition, but which presumably played a key factor in his “meltdown” and premature death, and which also won him an Oscar, albeit posthumously. Although there would be many clues, and even strong evidence, for direct connections between Ledger’s career choices, his engagement in the Joker role, and his death, such evidence remains inconclusive, within the realms of “coincidence,” or ironic tragedy, to the average observer.

Beneath this first layer, however, there would be what we might term the “Heath Ledger psy-op,” the sorcery narrative. This would show how Ledger was chosen and groomed from the start, how each and every one of his roles was selected for him as part of a larger, “occult” trajectory of which his life and death consisted. Naturally it could be argued that Ledger’s roles were chosen by him also, to some extent at least; but this would be only so far as he was allowed the illusion of choice. Even when actual human “handlers” weren’t subtly (or not-so-subtly) coercing or corralling him down preselected career paths, there would be subtler forces at work, in and through his psyche, ensuring that he go down these already prepared channels. Although as far as we know, Ledger was not a Scientologist, it’s possible, even likely, that he had some sort of “spiritual” or psychological counseling during this time, and psychiatrists are notoriously used to "handle" a star (as in Marilyn Monroe). Possibly Ledger was even subjected to hypnosis or some other form of covert mind control as part of his "therapy." We cannot know this without doing the research, and so all of this is hypothetical—I am citing Ledger as a possible case study, without having done enough digging to know if he fits the pattern or not. But whatever the case, all of these factors and possibilities would become clear in analyzing the second layer of the narrative.

In the hypothetical case of Ledger, the overall intent of such a series of carefully directed events would presumably be to create a ritual sacrifice, leaving various clues and symbols—archetypal content, as “triggers” for the unconscious—by which the public would be fed a mythic narrative, a blueprint. Such a narrative, just like the movies Ledger acted in but on a much larger (though also more discreet) scale, would be aimed at invoking certain mental and emotional responses in the public, in a word, their psychic investment in the narrative—suspension of disbelief—by which the fake reality being created would become substantially more “solid” and persuasive. In this case, the narrative is of young, beautiful, talented movie star who has “everything going for him” but who flirts with the dark side—both as an actor (admirable) and as a drug-abused (foolish)—and who, consumed by his own darkness, takes his own life. As is so often the case, however, the “suicide” (whether accidental or not, there seemed to be plenty of room for doubt) is shrouded in sufficient mystery to create ambiguity, thereby ensuring that the more discerning (and paranoid) among us suspect “foul play,” and so look deeper into the matter and discover the second layer of narrative. Masonic Sorcery Theater, business as usual.

The final layer is that which the synchromystics are happily propagating, which is how the myth plays out at a higher, transpersonal or fully archetypal level: striking certain notes and melodies that pertain to—reflect back at—the collective consciousness of the species. This aspect of the narrative, the deeper and wider aspect, requires no conspiracy or human/demonic element, either at work or at play—except that, of course it does require it. The puppet needs strings to dance, not just a Master. Jake Kotze and others in the synchromystic movement are so fascinated by the realization that there is a Master pulling the strings that they have come to the premature conclusion that the strings don’t matter at all, or even that they don’t exist, making the puppet and the Master one and the same. There is a level at which this may well be true, but if so, then that is not the level we are at collectively at this time. If you don’t believe me, ask Heath Ledger.

The Heath Ledger “psy-op” is a kind of bridge, then, an area of overlap between ordinary consensus reality—in which everything happens by accident—and that of divinely ordained reality or synchronicity, where everything happens by design. The handlers and sorcerers behind the Ledger/Joker narrative—his rise and fall and everything in between—employ specific symbols and blueprints and advanced psychological/alchemical knowledge in order to imbue the narrative with as much substance and depth, and power and “punch,” as possible. Naturally, they are transmitting powerful universal symbols, even universal truths, via their sorcery and subterfuge. They have no choice but to do so. The thing about symbols and archetypal blueprints is that, in order to be effective, they have to be authentic. They can’t be contrived or invented for the purpose. There are only so many archetypes and narratives which can be employed for false reality creation. So, however much the narrative is being shaped and directed towards socio-political ends of mass control, the elements of the narrative still pertain to the realm of the archetypes and of the divine. In other words, even when false narratives are being created to blind us to what’s behind them, they cannot help but echo and reflect the same deeper reality they are trying to hide.

This is why Hollywood, despite everything, and despite being nothing more nor less than a vast psychological control system, still produces worthwhile movies. It simply can’t help itself.