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Exclusive Intelligence Examiner Report

Texe Marrs

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Is it possible that significantly important, hidden messages permeate many of our movies today? Could it be that through the unique cultural medium of cinema, hundreds of millions of unsuspecting viewers are being hypnotized and programmed without their knowledge—being prepared for a future age of Big Brother and made ready to accept the most heinous evil? Is mankind being conditioned through the most sadistic and satanic forms of entertainment to relish—and even demand—the constant staging of brutal and deadly "Blood Games?"

That is the contention of John D. Christian in his thought-provoking and insightful book, Gladiator. The title, of course, refers to the Ridley Scott-directed movie, Gladiator, an Academy Award-winning film which won Oscars both for Best Movie of the Year and Best Actor (Russell Crowe).

Mr. Christian is persuaded by voluminous evidence—which he presents to readers in the pages of his book—that Gladiator is a movie that attempts to revise and rewrite true history. More ominous, however, he expresses his firm conviction that this much lauded and critically received film is, in fact, a masterpiece of satanic propaganda. It is a film designed to implant in the minds of viewers a message which is a call to worship the coming prophesied Antichrist of the Holy Bible’s Book of Revelation.

If the author is correct, then we can expect the movie Gladiator to be imbued with very special supernatural powers to mesmerize and deceive. Certainly, the history of our planet reveals that this movie would not be the first to be endowed with such unusual powers to influence the minds of men, women, and children.

A Masterpiece of Propaganda

Mr. Christian, this book’s author, presents documentation that the movie studio which produced the Gladiator epic actually admits in one of its own publications that the movie is patterned after what is arguably considered to be the 20th century’s greatest mind control cinematic production, the celebrated Hitlerian documentary, Triumph of The Will, directed by famous German photographer Leni Reinfenstahl. In a separate book accompanying the movie, its makers reveal:

"Gladiator Director Ridley Scott wanted Commodus’s grand entrance into Rome to echo Nazi-era propaganda films like Leni Reifenstahl’s Triumph of The Will."

We cannot, based on the present evidence, maintain with certainty that its director or producers desired their acclaimed movie, Gladiator, to be endowed with monumental satanic powers to program and channel men’s minds and energies in the direction of evil. But such a purpose cannot be ruled out. It has been my observation that many, many men and women in a variety of professions—from architects to artists, authors, medical doctors, and movie producers—are being led, often without their conscious knowledge, into wicked paths in order to influence the masses.

Possibly, this is also true of movie director Ridley Scott and others involved in the making of Gladiator. Oftentimes, those who provide Satan with the most magnificent service are wholly unaware that their talents are being used for evil. That is the tragedy of unregenerated man and his modern culture.

Subversive Movies

In a recent edition of The Lofton Letter, my friend, the astute commentator John Lofton, wrote of how one particular classic Hollywood movie was originally produced with the specific intent of effecting societal change through the implantation of certain religious images, motives and goals. Lofton related:

There I was watching cable TV (American Movie Classics), a program called "Backstory" which gives us inside info about how a movie was made. The particular flick this night is one of my favorites, the 1951 classic, The Day The Earth Stood Still.

OK. So, midway through this show, we’re told there was a "sneaky, subversive subtext" in this film, with parallels between the peace-loving alien (actor Michael Rennie, robot "Gort’s" boss) and—Jesus Christ! How so? Well, Rennie’s character, at one point, calls himself "Mr. Carpenter." Also, he dies and is resurrected.

But, says the narrator, the alien’s power over life and death did not slip past censors "who insisted the blasphemous plot-point be changed." It was. In a re-take, when asked if he had the power to create eternal life, the alien says no, only for a short period of time. Re: the eternal life power, the alien says: "That power is reserved to the Almighty Spirit. This technique, in some cases, can restore life for a limited power."

At another point, Forrest J. Ackerman, a magazine editor/archivist, says of this movie, approvingly: "We didn’t have a man and his robot come here to rule the world. He came here to warn us we better straighten up and fly right or we’re going to fly right out of the solar system and be burned to a cinder. It was nice for a change to have a very charismatic individual from another world rather than a villainous one."

Nick Redman, a film historian, says this movie "revealed to the audience a truth that had been hidden from them which was to put our fears and phobias and hysteria to one side and learn to love one another."

Director Robert Wise says of his film: "I think it was a very important message that we all believe in very much: Let’s stop fighting and having these wars." Co-star Patricia Neal says The Day The Earth Stood Still was "a divine film."

Well, now. Speaking of the "divine," some of this sounds very familiar. A warning from someone not of this world to shape up or be scorched? A preacher of a hidden truth by a charismatic person calling for, among other things, love? No more wars?

Hmmmmm. Sounds a little like the Lord Jesus Christ, no?

Lofton’s illustration is proven over and over again in movies ranging from ET to Bladerunner. Man is depicted to be his own god, and aliens from outer space or another dimension or parallel universe are his teachers and benefactors.

An Unquenchable Passion for Blood and Death

The movie Gladiator does not press these same claims of humans as deity. Its plot and images appear to have other goals in mind, including possibly the revival of giving reverence to and worshipping the ancient gods and goddesses of Rome and Greece. Moreover, Gladiator appeals to the 21st century’s unquenchable passion for thrills, blood, carnage, violence, brutality, and death.

Clif Droke, publisher of Last Days Journal, made note of this moral aberration and inhumane tendency on the part of modern society recently when he wrote:

"The one central theme characterizing man’s dealings in these last days is bloodlust... Blood is a theme that permeates the lyrics of nearly all forms of popular music—rock, heavy metal, rap. It is evident in popular movies and in contact sports, television programs, comic books, video games, and internet sites.

The Wall Street Journal (Aug. 7, 1997), carried an article entitled, "Blood On The Net: Computer Games See Red." The article described a burgeoning gaming industry for teenagers and young adults who favor games with bloody, violent themes. Advertisements for these latest games are said to ooze with blood: Young men are shown bathing in tubs of it; warriors clutch dripping human hearts. One game features a sporty red speedster with an optional hood ornament—a screaming, bloodied pedestrian."


It was not surprising, then, that it was recently announced that an amusement park featuring the blood games based on the movie Gladiator would soon be opened. We are graduating from Disneyworld to Gladiatorworld in entertainment interest by the public. In the New Zealand Herald newspaper (May 15, 2001), an article announced exactly this amazing development:

Gladiator fights, chariot races, and the torturing of Christian slaves in a lion-filled arena are poised for a comeback more than 1600 years after the fall of the Roman Empire.

The spectacles will take place in France, in a massive, purpose-built arena inspired by the Colosseum in Rome, where some of the bloodiest scenes in Roman history took place.

But if all goes well, any blood on the sand will be fake, for the gory thrills are part of an amusement park in western France, the Grand Parc, to cash in on the excitement generated in Europe by the Hollywood toga epic, Gladiator...

The Grand Parc claims the stadium will be a "jaw-droppingly" exciting recreation of a real Roman arena... seven lions and tigers will prowl...

New Zealand Herald Article on Gladiator World
In this article from the New Zealand Herald newspaper )May 15, 2001, P. B2), It was reported that, in France, an arena is now being built to house modern-day gladiator games.

Imagine! The new Gladiator amusement theme park is being opened in the very same country, France, in which, only a couple of centuries ago, real blood games were held, with thousands of innocent victims heads chopped off by the guillotine as chanting and roaring mobs raged with approval. Many of the suffering victims were guilty of only one crime—they were Christians!

Were these bloodlust mobs and onlookers in 18th century revolutionary France any different than the blood-crazed crowds who sat in the Colosseum in Rome and in arenas throughout the Roman Empire centuries earlier?

Could it be that the Christians who were sacrificed in the Roman arenas and those who were later tortured and murdered in the cities of France by guillotine and other heinous methods will be joined by 21st Christians? It seems too preposterous to contemplate.

Surely, one might object, mankind has acquired greater compassion and sensitivity in the intervening years. "Surely," the cheery optimist objects, "modern man could not be induced to commit such atrocities. Not today. Not in America. Not on a civilized Planet Earth!"

Spirit of Bloodlust

But, in fact, the monstrous horrors of 1940s Nazi Germany, 1917-1986 Communist Soviet Russia, 1980s Khmer Rouge Cambodia, and, surprisingly, the first decade of 21st century America, demonstrate that the spirit of bloodlust lives on, unquenched, destructive. Indeed, the federal authorities of the United States proved this same satanic spirit of blood games thrives in their murderous attack on Ruby Ridge, their siege, torture and burning to death of 83 innocent men, women and children in Waco, Texas, and their complicity in the bloody bombings of the World Trade Center and the Murrah Federal Building in Oklahoma City, Oklahoma.

"What!" you exclaim, "Are you saying that the federal government lawmen and the elite were either involved in or masterminded the horrors of the World Trade Center and Oklahoma City bombings?" Again, popular culture and entertainment provide the startling answer.

Take, for example, the carnage in Oklahoma City. Did Oklahoma Governor Frank Keating help to coverup the awful truth of government involvement in the "terrorist" bloodletting in his state? In fact, the evidence is staggering that the answer is, yes. The object of the Oklahoma City bombing by the government was to conduct a prescribed "Blood Game" to anger and excite the American public against a designated enemy: patriots, nationalists, and militia. Keating’s state of Oklahoma presumably was chosen because the Governor formerly had been an FBI agent and also once had served as Assistant Secretary of the Treasury in Washington, D.C., supervising the Secret Service, U.S. Customs Service, and the notorious and murderous Bureau of Alcohol, Tobacco, and Firearms (ATF). Other members of the Keating clan were active in government intelligence.

Now comes the shocker! Is it just a curious coincidence that the Governor’s own brother, Martin Keating, authored a manuscript for a novel in 1991, four years before the actual Oklahoma City bombing and slaughter, a novel which amazingly foresaw key events of the terrorist act? The manuscript by Martin Keating, titled The Final Jihad, had for its plot an account of terrorists, based in Oklahoma City, who decide to bomb a federal building. And the name of one of the terrorists in Keating’s book is—get this—a "Tom McVey!" That’s right, Tom McVey.

Now for the clincher: In The Final Jihad, this supposedly fictional novel by Keating, the terrorists are apprehended when their car is stopped by an Oklahoma highway patrolman for a broken taillight. This, of course, we are told by the FBI, is exactly how the real Tim McVeigh was caught.

Was Martin Keating’s manuscript secretly used by the federal authorities as the blueprint for their undercover "Blood Game" project—the bombing of the Oklahoma City federal building and its massive loss of life? It should be noted that actual victims were not law enforcement agents but little children and lower-level government workers—administrative clerks, social security employees, postal sorters, etc.

Was the real Timothy McVeigh simply a hapless patsy, the same kind of patsy as was luckless Lee Harvey Oswald some four decades prior?

Moreover, was the slaughter of 168 men, women and children in Oklahoma City carried out according to a preapproved "movie script?" I was not surprised to hear recently that CBS-TV is planning a dramatic mini series based on the bombing and on the execution by lethal injection of designated patsy, Tim McVeigh (aka Tom McVey?).

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