Saturn Death Cult

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Saturn Death Cult Part 1

The link between planetary

catastrophe, ancient mythology and
occult ritual

Saturn Death Cult Part 2

Other Books by Author Troy D. McLachlan

Crimes of the Saturn Death Cult

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Glossary

Media Interviews Archive

Stanley Kubrick and The Saturn Death Cult

Is the greater body of Stanley Kubricks films an expos of a hidden elite
obsessed with dark Saturnian sexual rites, paedophilia and the planned
ritualistic transmutation of mankind?
The author and filmmaker Jay Weidner has

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proposed that legendary film director Stanley

Kubrick created his masterpiece 2001: A Space
Odyssey as a visual and alchemical initiation into the
ongoing transformation and evolutionary ascent of
man to a so-called Star Child destiny.

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Set against the backdrop of a space mission sent to

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the planet Jupiter to investigate a strange artificial

monolith, 2001: A Space Odyssey is an almost
surreal experience that incorporates thematic
elements including human evolution, technology,
artificial intelligence and extraterrestrial life.
According to Weidner, it is a bold attempt to
envision the next evolutionary step for humanity as
it reaches out beyond its own planet into the depths

Publicity shot of Stanley Kubrick, rated by

many as the finest film director of the 20th
century. (image PD)

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of space.
During a March 6, 2011 interview on Red Ice Radio, Weidner asserted that Kubrick had
originally wanted to set the storys monolith on the planet Saturn as it is written in the
Arthur C. Clarke novel of the same name and not on Jupiter as it appears in Kubricks film.
However, the special effects team apparently could not replicate Saturns rings well enough
and Jupiter was substituted into the plot.
Weidner doesnt buy this. He believes Kubrick was pressured to make the changes by
highly placed occultists worried that the film was too blatant in its depiction of the role
played by Saturn in their occult human transmutation agenda. However, from the

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SATURN
DEATH CULT is now available on
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provides some answers to the
radical cosmology suggested on
this website. Remember, if you
don't have a Kindle, you can
always download for free Amazon's
Kindle for PC.

perspective of this websites core theme there are enough eerily familiar images in 2001: A
Space Odyssey to suggest that Kubrick did in fact get Saturn into his film.

Cosmos in Collision
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Privacy Information COSMOS IN

COLLISION is the new book by

Troy D. McLachlan and Ted

Holden dealing with fundamental
questions posed in Saturn Death
Cult concerning both the origins of
our planet and humanity itself.
Two iconic images from 2001: A Space Odyssey. Compare with picture below of how a Saturn stationed at Earth's
celestial north and connected by a vast auroral Birkeland current might have looked to the ancients during the
Golden Age. (images are publicity stills, PD)

Pack full of illustrations, the

authors propose a new solution to
the formation of our solar system
and come to the startling
conclusion that the human species
is not native to this planet!

So why did they let Kubrick make 2001: A

Space Odyssey in the first place?
Recommended

Well, it all goes back to understanding the

context of the times in which Kubrick was
working, i.e. the space race with the Soviet
Union during the time of the Cold War. But
more on this later, because I think it is
important to first establish a connection
between Kubricks films and Weidners
assertion of his supposed knowledge of an
occult agenda and the elite that control that

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agenda.
Of course, to fully understand Jay Weidners
take on the works of Stanley Kubrick it is
best to visit his website and read his articles
on the subject for yourself. In the
meantime a short summary of Kubricks key films (in no particular order) will give you a
hint at what Weidner is getting at.

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FIRST
VOLUME in Cardona's ongoing
series discussing the evidence
from mythology and science for

Saturn as Earth's first sun.

Babylon's Banksters
Joseph P. Farrell
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Stanley Kubrick
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Eyes Wide Shut: Kubricks look into the world of the New York sexual underground, the
bizarre rituals of a sex cult, infidelity and possible elite murder. The film is peppered with

excellent insight into the root

causes of today's world financial

occult and Masonic visual references and hints at underage prostitution amongst New
Yorks privileged classes. The film, though butchered by a studio re-edit, is a cause
clbre amongst occult observers as an insiders peek into the dark sexual practises of the
worlds elite. (NOTE: Kubrick died, some say mysteriously, four days after screening his
final cut of the movie it was seriously and suspiciously re-cut after his death)

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A.I. Artificial Intelligence: A Kubrick project

largely completed by Steven Spielberg after Kubricks
death, the film centres around the concept of artificially
created children being manufactured as substitutes for

crisis. Privacy Information A

FASCINATING STUDY of a great
filmmaker who possibly knew and
revealed too much about the

childless couples or grieving parents trying to come to

terms with the loss of a human child. Once again, it is

disturbing and hidden world in

which we innocently live.

said that Kubricks plot was radically changed after his

death from a much darker look into why people would
want to create life-like children that never grew up. As
Weidner points out: What mother would want to miss
out on the experience of watching her child grow into

Publicity still from Eyes Wide Shut.

The character was the inspiration for
the figure at right in this website's
headline banner.

adulthood? Yet, what group of people would want to

have a never-aging 12-year old boy? Yep,
paedophiles of which occult groups count many within their ranks. Was this Kubricks
intended message for this film?
Lolita: One of Kubricks earlier films that explores the
sexual relationship between an older man and an underage
girl. Based on the notorious novel of the same name,
Kubrick departed from the books plot on one significant
point through the enhanced role of Peter Sellers
character he hints at the existence of a paedophile network
active in procuring underage girls. This is a common
attribute associated with elite occult activities and we see
here Kubrick exploring one of his more enduring themes.
Dr. Strangelove: The 1964 film that established Kubrick
as a special effects master, a very important point to
remember in understanding why Jay Weidner believes Kubrick was allowed to make his
later occult-expos films. For its time, however, Dr. Strangelove was the definitive satire
on the ominous military industrial complex that President Eisenhower had warned the
American people about. Occult influences within the military industrial complex have been
a staple of occult-conspiracy literature and Kubricks satire underlies his own distrust of
this insidious institution.

Kubrick's use of the occult circle motif in Dr Strangelove (left) and Eyes Wide Shut (right)

A Clockwork Orange: The ultimate mind-control movie in which we see a violent rapist
transformed by the brainwashing Ludovico technique into a passive citizen devoid of his
humanity, albeit violent humanity. In this film Kubrick goes to the heart of a society being
steered towards the goal of transmuting people into more pliable subjects. The suspicion
that we can all be manipulated by hidden agendas is the uneasy conclusion echoed by this
film and highlights a paranoia Kubrick seems to have had regarding authoritarian control
mechanisms.
Full Metal Jacket: Another look by Kubrick at humans
being dehumanised then transformed, this time with the
horrors of the Vietnam War providing the backdrop as a
group of US Marines go through basic training and then
into combat. Once again the aware observer can pick out
Kubricks use of human transmutation as an underlying
theme being used to explain what is happening to the
hapless marine recruits a metaphor maybe for
humanitys own planned transformation.
2001: A Space Odyssey: Kubricks undoubted
masterpiece and at the centre of Jay Weidners alchemical
take on Kubricks films. As discussed above, Weidner
claims this film to be Kubricks attempt at an initiation rite

A Clockwork Orange. Note the

'eye' motif, very evocative of the
Eye of Horus, a classic Saturnian
symbol.

of passage illustrating humanitys next planned-for evolutionary step. Weidner believes

Kubrick has revealed an occult agenda to launch us as a species into space where we will be
able to embrace our destiny as future star children and join the greater cosmos.

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EVIDENCE
FOR A THIRD and very sinister
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did not die at the end of World War

Two.

Stanley Kubrick
Tom Cruise, Jack N...
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The Shining: A film crucial to understanding how Kubrick was able to get away with
making films laced with occult references and alchemical imagery. Weidner believes this
fraught adaption of Stephen Kings novel about an isolated writer going mad (King hated
Kubricks adaption) is actually a cryptic confession by Kubrick of his involvement in the
faking of the Apollo 11 moon landings!
And with that last statement we finally arrive at why Kubrick seems to have been allowed
to embark on a career making movies with hidden alchemical messages and occult exposs.
Kubricks Apollo 11 deal
I first came across Weidners work on Stanley Kubrick when researching possible evidence
for a faked 1969 moon landing by NASA. There are many theories claiming that the 1969
Apollo moon mission was faked, but Weidner caught my interest due to his comparative
analysis of the moon landing footage with Kubricks special effects work in 2001: A Space
Odyssey.
What Weidner was able to plausibly demonstrate was that the background sky in the
Apollo 11 mission shots shared the same forensic tell-tale signs of Kubricks front projection
technique used on 2001: A Space Odyssey.
I quote from the blurb to Weidners excellent documentary film Kubricks Odyssey Part 1:
In Kubricks Odyssey, Part I, Kubrick and Apollo, author and filmmaker,
Jay Weidner presents compelling evidence of how Stanley Kubrick directed
the Apollo moon landings. He reveals that the film, 2001: A Space Odyssey
was not only a retelling of Arthur C. Clarke and Stanley Kubricks novel,
but also a research and development project that assisted Kubrick in the
creation of the Apollo moon footage. In light of this revelation, Weidner
also explores Kubricks film, The Shining and shows that this film is, in
actuality, the story of Kubricks personal travails as he secretly worked on
the Apollo footage for NASA.

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Having extensive experience in film production myself, Weidners technical arguments

were powerfully persuasive. What we also learn from Weidner is that Kubrick, in agreeing
to fake the moon landings, brokered a deal that allowed him to make any movie he wished
from that time on with full artistic control. Kubrick had become an insider in one of the
greatest alleged conspiracies of the age, but it was to cost him dearly and he would use his
artistic freedom to subtly expose those behind the conspiracy.
The Saturn Death Cult connection
As mentioned in the first paragraphs of this article, Stanley Kubrick had originally wanted
to use Saturn and not Jupiter as the location for the alien monolith in 2001.
Why?
It is evident that in mythological and
esoteric traditions, Saturn is recognised
as the original supreme creator or god.
It is also true, as documented by
authors such as Richard C. Hoagland
and Joseph P. Farrell, that the US
space agency NASA was and is infested
with various Masonic, Nazi and occult
influences all intent on pursuing their
own hidden agendas, and all fully
versed in what this writer refers to as
corrupted Saturnian lore.

My favourite Saturnian-type image from 2001: A Space

Odyssey. Compare with below image depicting a possible
Saturn, Venus and Mars configuration during the Golden
Age.

In dealing with these occult NASA insiders while faking

the Apollo 11 landings, Kubrick would have been
initiated into their perception that humanitys destiny is
inextricably linked to an occult and metaphysical
understanding of Saturn. Exposing this twisted
metaphysical interpretation of Saturn is the whole
premise for this website, but for Kubrick such an
interpretation would have been crucial in establishing a
true initiation experience for his 2001: A Space
Odyssey audience.
But, as we have seen, Kubrick was thwarted on that
score when he was forced to switch to Jupiter as the
films main backdrop.

The irony is though, that because most occultists themselves still labour under the notion
that the solar system has always been as we see it today, Kubrick would not have realised
that there is a perfectly natural explanation for Saturns exalted position in mythology.
While NASAs occult jet propulsion engineers and Nazi rocket scientists looked to
rediscover some lost Saturnian truth by physically travelling to that planet (Saturn V
rockets?), those with an appreciation for the Electric Universe model of the solar system
know that Saturns mythological secrets lie in its original physical position at Earths
celestial north.
That occultists and alchemists still cling in ignorance to the accepted uniformitarian view of
our solar system would almost be laughable if it were not for one very brutal fact that
they have developed a code of sickening sex-murder rituals over the centuries in pursuit of
their quasi-metaphysical reverence for Saturn.
As those who have read this websites general outline on the Saturn Death Cult know,
women and children the world over have suffered the horrific consequences of this
insidious interpretation of mythology. If we are to believe the imagery of films like Eyes
Wide Shut and A Clockwork Orange, then it seems Kubrick too was exposed to this
unsavoury side of the Saturn legacy and his latter films may have been his own attempt to
alert us to the existence of this curse. For Kubrick, though, the tragedy is that his artistic
genius was badly poisoned by contact with these creatures and it seems he too suffered
terribly on a personal level as a result.

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