THE MEDIA-MAKER is a persistent violator of the need to include a globe portrait within their passing narrative—Why? They are incestuously bluffing their way through a make-believe vantage point; the video camera held so far back as to capture the whole of our supposed blue marble as it wanders aimlessly through the sackcloth of space. The documentary genre holds much blame. I have often observed that such glimpses of “the heathen’s globe” predictably beds with the shot I am about to describe. We quickly cut in to the habitual routine of people—all of whom issue from a hodgepodge of cultures—navigating the current of their commuter belt. Both shots are worthy of comparison, as they and the globe are on their way to a feckless job. With such incautious glances at creation from the ceiling of space, the media-maker most certainly errs. And yet in light of the Copernican Revolution, particularly the augmented reality which entitles us to a belief in it, this is how our tutors wish that we perceive ourselves—from an ascendancy of which only God has granted Himself permission.

But once or twice in Scripture’s unfolding narrative is the breadth of the Earth revealed from above. Here as always it is presumably delivered, as we might deduce, from the perspective of Yahuah’s throne. Isaiah 40:22 informs us:

“It is He that sitteth upon the circle of the earth, and the inhabitants thereof are as grasshoppers; that stretcheth out the heavens as a curtain, and spreadeth them out as a tent to dwell in.”

My serial reader will likely understand—and willingly accept—the wondrous picture which is framed here. Nowhere does the Bible recognize an infinite sackcloth space, as some astronauts have described their own “Isaiah 40:22” experience. The wishful reasoning for the circle of the Earth representing a “ball” rather than a circle has been so thoroughly reputed as to expose the self-deceived and despairing heart which obstinately refuses it. Regardless, they prefer the astronauts “Isaiah 40:22” account over Yahuah’s own eye-witness statement. That is their loss. They would rather expound on the human experience by indulging in the esoteric fantasies of deep space beyond our own line of vision, which the Bible outright rejects but augmented reality affords. My serial reader will concur, heaven stretched out “as a curtain” or the roof of a tent is a poor description of space, yet admittedly it accommodates everything we know of Hebrew cosmology.

Before the Copernican Revolution—we shall also not accommodate Occult wisdom as a consideration—were there ever such attempts to gaze perversely down upon the Earth when discussing the nature of human being, let alone imagined? I think not. If we are to navigate through the treacherous avenues of augmented reality, then we must do so with brave and veracious conviction. The media is a wet sponge dripping with subliminal messaging which hopes to knock upon the Gnostic heart within each of us and light the “divine spark.”

WALT DISNEY WORLD receives over 52-million visitors per year. The Disney theme parks, which includes Disneyland in Anaheim, California, currently dominates any and all of the worlds most photographed places, beating out the Golden Gate Bridge, Yosemite National Park, New York and Paris landmarks. Then the massively impressive geodesic sphere which serves as a symbolic structure for EPCOT needs very little introduction.

We know it as Spaceship Earth.

Its story-line was conceived by eminent science-fiction author Ray Bradbury, one in which we are promised to “take a journey through time unlike any every experienced or imagined.” Spiraling gently upward into the geosphere through the strata of ages past, Time Machine vehicles carry its guests to the very beginning of communication—not God spoke, as Scripture records, but rather to a Cro-Magnon cave where early man first began documenting events on his wall. Thousands of years soon pass to the Kingdom of Egypt, where we witness papyrus invented, thereby making the Cro-Magnon’s “wall” portable. The Phoenicians will invent the alphabet.

According to Walt Disney World (1986), a time traveler within Spaceship Earth will observe the movable type press invented, in which “the evolution of communication gathers speed. With the Age of Invention, new communication technologies develop at an incredibly swift pace…. To this point, the Time Machines have been ascending into the dome of Spaceship Earth. Before beginning their descent, the vehicles turn, and we see the blue and white oasis of Earth against the dark and mysterious star-sprinkled galaxies. For the first time, we see our planet as it really is—a traveling spaceship. This is the Spaceship Earth experience—a voyage that fills its travelers with an insight into man’s evolution, from the dawn of our yesterday to the sunrise of our tomorrow.”

Anyone who has ridden Spaceship Earth may recall the narrator’s parting words—spoken now by Judi Dench—which neatly sums up the challenge of a future set apart from Yahuah’s promises. Having gazed upon creation as only our Most-High Elohim has a right to—ironically here a counterfeit creation—the rider begins his descent to Earth like the stardust of our evolutionary origin, and hears: “Tomorrow’s world approaches, so let us listen and learn, let us explore and question and understand. Let us go forth and discover the wisdom to guide great Spaceship Earth through the uncharted seas of the future. Let us dare to fulfill our destiny.”

With his journey through the evolution of communication finally complete, the guest is returned to the gateway of EPCOT, where the future of Planet Earth awaits and, just beyond the Lagoon, the world itself invokes exploration. With the Copernican Revolution employed as his filter, the guest may choose his experience—tomorrow’s dreams in Future World or the various ethnic countries which make up Planet Earth’s bludgeoning centralized governance in World Showcase. But whatever his outcome, EPCOT’s globular geosphere almost always looms upon his horizon. It is brilliant indoctrination.

I have a confession to make. Spaceship Earth is my favorite ride at Walt Disney World—perhaps because history is my strong suit.

But there’s more.

Throughout our marriage, nearing two decades now, Mrs. Hadley and I have managed to become closeted Disney theme park addicts—though closeted no longer. Living most of our lives in Southern California, we probably made a dozen pilgrimages to the Magic Kingdom. And that was before we succumbed to annual passes, starting in December of 2015. The amusements which could be found there—not only in Walt Disney World’s four theme parks, two water parks, and its dozens of creature-comfort resorts, but the choicest medley of fine dining experiences—certified the fact that no two trips in any given year were exactly alike. In fact, Mrs. Hadley and I were annual pass holders when we succumbed to the flat earth reality over a spirited dinner conversation, rather early on in 2016. The Disney World experience would never be the same—and that is a good thing.

Mrs. Hadley and I were pushing our twin sons in their stroller—mouse ears pronounced upon both toddler heads—and the “world apart from the real” which Disney World bases its very cornerstone upon was suddenly stripped away with unsettling clarity. It was more of a revelation—a bittersweet aftertaste tugging at her heart and mind.

With widened eyes she said: “Spaceship Earth is a globe. They want you to think the Earth is a globe. And yet the countries of World Showcase are as flat as Florida!”

The whole illusion came toppling down.

We let our subscription expire, and we have yet to renew them. The addiction however remains. I confess it hasn’t been easy. We’ve only recently talked about going. I even picked up the phone to make reservation. I can’t help it.

I want more of the Mouse.

Anticipating the children which Yahuah would one day bless us with was in itself a maze of disappointments. How we waited! How we waited! And we waited! And we fed our Disney addiction—in part because we dreamed of one day filling the imaginations of our children in its clean swept gutters—as we waited. And now that we have children of our own, the Most-High has asked us to surrender the Disney theme park experience—all of it. We almost went anyways. But this is not about my twitching fingertips, because the Disney theme park experience is an affront to the holiness of Yahuah.

In ‘The Magic Kingdom’ (1986), Disney paints its prized Florida destination as “a world apart from the real.” If we are to accept Disney’s premise, then we must also detach ourselves from the moral paraphernalia which clothes the otherwise naked Biblical faith. For example, Disney has described the Haunted Mansion as “a poltergeist’s paradise.” By merely participating in Madame Leota’s conjuring of “familiar spirits,” we are willingly engaging in a complete subversion of Leviticus 19:31; 20:27; and Deuteronomy 18:10-13. Necromancy is a damnable offense—worthy of death. Disney makes a joke of it and expects us to laugh along, particularly when Hitchhiking ghosts follow us home.

“And the soul that turneth after such as have familiar spirits, and after wizards, to go a whoring after them, I will even set my face against that soul, and will cut him off from among his people.”

Leviticus 20:6

Next, we find ourselves at Pirates of the Caribbean, a boat guided tour which outlines “the capture, pillaging, and burning of a seacoast town by a crew of swashbucklers who would shiver the timbers of Blackbeard.” And yet, “while their victims may fret just a bit, they seem to be having as much fun as the buccaneers.”

Here the 11^th Psalmist confronts us:

“Yahuah tests the righteous, but his soul hates the wicked and the one who loves violence.”

Psalm 11:5

Disney’s Animal Kingdom devotes an entire land to teaching children about dinosaurs and the hundred-plus million years their evolutionary narrative demands. Its E-Ticket attraction, aptly named Dinosaur—a fast-moving chiropractic-inducing dark ride which is described as “a turbulent journey through the Cretaceous period”—takes scissors to the opening chapters of Genesis. If one is to sit back and enjoy the ride, he must forsake the eye-witness Testimony of his Creator, and comply. Dinosaur’s Disneyland counterpart is Indiana Jones Adventure: Temple of the Forbidden Eye—same exact ride system and track, different story—in which the demon Mara offers his visitor one of three choices: earthly riches, eternal youth, or visions of the future.

With Pandora–The Land of Avatar, a massive themed area based on James Cameron’s series of films, we are challenged to another philosophical quandary. What makes us uniquely human? Some transhumanists, so-called “uploaders,” hold to the idea that technology will eventually allow us to separate mind from body and enjoy immaterial eternal life, either in the heavens or cyberspace. Avatar accepts this premise but tacks on animalism. In such a construct, souls or spirits exist not only in men and fauna but in flora, in rocks, even in natural phenomena such as mountains, rivers and streams. If consciousness can be transferred to another body at will—today male, tomorrow female, an entirely new sexual organ the day thereafter—then the very fact that we are created in Elohim’s image has been arrested, tried, and disproved. Avatar would have us know that the Bible is an ill-conceived lie. The true Christian will have no part in this.

Eat… Sleep… Disney… Say, “Psychodrama…”

Walt Disney World is a nothing less than a psychodrama. Often employed within psychotherapy, the willing participant uses spontaneous dramatization and role playing, all under the guise of self-presentation, in order to investigate and gain insight into his life. As a therapy model, it is a means of altering one’s values, and works particularly well in molding the morality of children contrary to their parents. Psychodrama is arguably the most common form of magic practiced, and likely the sole discipline of magic which all occultists seem to agree upon. It is magic—real magic. Not the pointy hat and broom stick magic which Disney parades for cheering audiences—though the large 25-story “magic wand” held by a representation of Mickey Mouse’s hand which was constructed upon Spaceship Earth’s sphere should still turn heads. Unfortunately, it didn’t mine.  Psychodrama was how Anton LaVey described magical ritual in The Satanic Bible. His position was that the ritual was cathartic; a purification and purgation of emotions—particularly pity and fear—through art or any extreme change in emotion that results in renewal and restoration; and proved psychological benefits regardless of whether or not the practice directly influenced the outside world. When aptly applied, Psychodrama includes elements of theater, often conducted on a stage, or a space that serves as a stage area, where props can be used. The fellow addict will likely concur—Disney refers to all guest accessible areas of the parks as “on-stage.”

In ‘The Theatre and It’s Double,’ first published in 1938, French surrealist Antoni Artaud writes:

“Aside from trifling witchcraft of country sorcerers, there are tricks of global hoodoo in which all alerted consciousnesses participate periodically… That is how strange forces are aroused and transported to the astral vault, to that dark dome which is composed above all of… the poisonous adhesiveness of the evil minds of most people…the formidable tentacular oppression of a kind of civic magic which will soon appear undisguised.”

Psychodrama is performance witchcraft. Global voodoo, civic magic, public sorcery. Consider the fairy Tinker Bell zipping alongside the simultaneous swing of a spotlight to announce an incoming display of fireworks. Or Mickey Mouse commanding Satan—rather ironically—with his mighty white glove and wand while over the loudspeaker we hear the coo of a child: “Believe!” By garnishing the audiences’ willful participation—like an entire nation glued to the television screen during Apollo 11’s moon landing and Apollo 13’s malfunction—the spell is cast. This is the Occult’s masterful hand at play. Performance witchcraft. Knowing then that Disney is a cesspool of falsehoods, the Apostle Yohanan would implore of us not to love and practice falsehood. In Revelation 22:15 he writes concerning an eternity in heaven:

“Outside are the dogs and sorcerers and the sexually immoral and murderers and idolaters, and everyone who loves and practices falsehood.”

On a much larger stage, the media has become not only a persistent violator of “Isaiah 4:22,” but a cult of drama and violence. The 9/11 false flag event, as well as dozens of theater, nightclub, school, church, and concert shootings—none of which will be outright mentioned here—are arguably all psycho-dramatic exercises. They are orchestrated in advance and executed. Let him who has the eyes to see—see.

We have been conditioned to psycho-dramatic exercises for decades. Mrs. Hadley and I were born into this norm. So were you—likely. In Secret Societies and Psychological Warfare (2001), Michael A. Hoffman II reminds us of the rituals gleaming ambition. “This theater of death began as a ritual of the cult members themselves and ended as a giant magical ceremony for the processing of the entire nation… This is the alchemical psychodrama for the transformation of humanity. We are processing just by reading or watching the news.” And yet there is a defining difference between the worldwide stage; unholy union of this present reality; the media narrative wedded with “a world apart from the real;” and what I have been exclusively describing. My reader cannot control which tower the Occult wishes to collapse; which schools or nightclubs or entertainment venues they consecrate with the tears of crisis actors; nor can I. But with due discipline and diligence, we can manage our jurisdiction in the stage of another kind.

To say we are in love with Yahuah and yet willingly lust for the flesh of a man or a woman is adultery and rebellion against our Creator. Thus sayeth Yahushua As the Apostle Yohanan would claim, “If we say that we have fellowship with Him, and walk in darkness, we lie, and do not the truth… (1 John 1:6).” In the same vain, can we lust towards a mastery of abracadabra, play the game of peek-a-boo into necromancy, or simply covet violence—even as entertainment would provide it; not forgetting a thirst for the possibilities which transhumanism offers our handicaps, insecurities, and sensuality, and still love our Elohim?

With Walt Disney World, I could go on.

The willing participant in the ongoing performance wears an RF chip so that his every footstep may be tracked. He is even photographed unaware. He delivers his very being over to an almost omnipotent power from the moment he arrives. Power to manipulate his exocentric reality with the esoteric. To manipulate his subconscious with apostate desire. In short, to manipulate him and the values of his children.

“For if we sin wilfully after that we have received the knowledge of the truth, there remaineth no more sacrifice for sins.”

Hebrews 10:26

Magic is all around us. Willpower results in magic. Imagination is a key for magic. And discipline makes better magic. To this cause, we must not apply.

Over the loudspeaker we hear the voice of a child softly cooing:

“Believe.”

Noel