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Brett's Suicide Squad Notes
🕑 Added 2023-04-11 18:32:43 +0000 UTCSuicide Squad (2016)
Ayer
Director David Ayer is a veteran of “national security cinema,” beginning with Training Day, which he wrote and co-produced.
He directed a music video spinoff of the film for a song by Lil Wayne, Wiz Khalifa, Imagine Dragons, and other IMSAs titled “Sucker for Pain.” The IMSAs are depicted as industry slaves in cages being electroshocked, etc., cut to parallel scenes from Suicide Squad.
Red Pill Programming
Remember Zappa’s remarks on “the squad” replacing the family unit—and remember my gloss, in our analysis of The Batman (2022), that “the squad,” in the form of the masked gangs, was preferred because squads are easier to regiment and control than families are.
Here the “rebel” suicide squad is really a pack of brainwashed and duped special Delta operatives in the service of Spectre globalists posing as Feds. To the extent that the filmmakers can get hordes of youth who are already primed to valorize transgression and edginess to identify with “the squad,” they’re effectively selling them, via the micro-to-macro mind control isomorphism, on being dimwitted, willing agents of Fed media psyops. Consider the lyrics from the end credits song (title???), “You might be one of us.”
As usual, the goal is to make you a willing participant in your own mind control, in your own slavery. The film reveals, in a pseudo-subliminal fashion, that being a “villain” doesn’t make you powerful; it makes you subject to arbitrary control, and the more “skilled” of a villain you are, the more you can expect to be exploited by people like Waller.
Also, if young people bite into the suicide squad cheese strategically placed in the deep state mousetrap, they will likely concur with Harley’s admonition to Diablo, after the latter told the story of how he killed his family in a pyrokinetic rage: “Did you understand that people like us can’t have families?” You can’t be a superpowered “meta-human” and have a normal family life. (Cf. similar messaging in A Scanner Darkly, which we recently analyzed with William Ramsey, where intelligence work is incompatible with family life and half the population are being recruited into intelligence work.) Actually, one of the few possibly positive messages of the film is conveyed in the fantasy dissociation scene where we see that what Harley wants above all is a family.
The key red pill programming sequence comes when the Enchantress tries to entice the squad over to her side (she has the power to turn people into mind-controlled zombies) by asking why they “serve those who cage you.” She, on the other hand, “knows what you want.” Remember Jay’s principle that the villains are often the elites themselves. The Enchantress promises to free them from their MK/carceral controllers in the same way the sexual revolution/MK-culture promises to free people from traditional society, only to corral them into another, more oppressive system of control, a Second—or Third—Matrix.
Harley pretends to accept Enchantress’s offer, since “the world,” which Enchantress (who, again, represents the ambitions of the elites) intends to subjugate, never did anything for her and the others, and, anyway, Enchantress promises to heal her trauma and restore her “Puddin’” (whom she falsely thinks is dead). All she must do is bow down and serve. More red pill tactics, here obviously colored with the diabolical mentality of the villain who will say and do anything to gain power over others. If you replace “the world” with “traditional society,” we have the equally diabolical pitch of those elites who have pushed the sexual revolution on people for more than a half a century: traditional society wants to keep you down, it makes you feel bad about yourself, etc.; but you can help overthrow traditional society and create a new, liberated world. Meet the new boss, worse than the old boss.
Leto’s Joker
Leto, as part of his “method,” sent members of the cast anal beads, used condoms, dead rats, and more.
A return, in many ways, to the Jack Nicholson crime-kingpin-as-transgressor-par-excellence Joker. Here, however, the occult and mind-control elements are more overt and pronounced than they are even in The Dark Knight or Joker.
One of the Joker’s tattoos is a skull with a jester’s cap. Joker=death=Devil (cf. Joker 3). Note that he’s also a magician and cribs the Great Beast/Aleister Crowley’s definition of magic: “I execute my will according to my plan” (contrast the avowed planlessness of the Dark Knight Joker).
He has a tattoo of an Ace of Spades on his neck, a card with Vietnam-era psyop (Apocalypse Now) associations.
The Joker’s relationship to the Feds resembles Batman’s/Bruce Wayne’s, who alternately uses and is used by them.
Monarch and Trauma-Based Mind Control
In montage sequences, members of the squad, especially Harley Quinn, are depicted being tortured as part of a regimen of trauma-based Delta programming.
Fetishization of the mentality of the “rebel” merc/Delta black ops mind slaves.
Harley Quinn is Monarch to the max
She’s introduced in a giant bird cage. (Consider the DC-Harley Quinn spinoff film Birds of Prey.)
Backstory:
She was a psychiatrist (Dr. Harleen Quinzel) at Arkham who fell for the Joker’s psychopathic, Mansonesque charms (Joker as the master manipulator, using his mind to conquer his captors, like Manson in Mindhunter). With the help of his gang—one guy dressed up as a panda (a reference to severe Monarch child abuse) and another as a goat (Satanism)—the nut takes over the nuthouse, and he literally puts her on the examination table, making her “the patient,” before subjecting her to vengeful electro-shock. The Joker was himself subjected to these “treatments” and credits Harley with helping to “erase” his “mind.”
For her part, Harley enjoys the torture, setting up the sadomasochistic dynamic that defines their relationship. “Desire becomes surrender; surrender becomes power,” Joker tells her during the chemical vat initiation ritual.[1]This is the false promise of power used to lure those who are already powerless: surrender to me and you’ll get power. To get superpowers, you have to lose your self, to sacrifice your humanity, including your autonomy. The “power” that is generated is the rage of the victim of systematized trauma, of an organized assault on their humanity; the programmers seek to exploit this rage, “the dark side of the force.”
Cf. Leto 1, where Thomas gives background on Leto’s sadomasochistic lyrics (and consider the accusations of sadistic abuse against him).
When the guards shock her with a cattle prod, she flashes back to the electroshock torture programming administered by the Joker. Electro-shock flashbacks are a staple of MK-cinema (cf. early scenes in Conspiracy Theory where the sparks from a welding torch cause Jerry to flash on his MK electro-torture.). The sleazy guard says it’s his “job” to keep her alive, i.e., to maximize the trauma. This “black site” prison is obvious a Delta programming facility.
Seemingly endless allusions to Harley’s sex kitten programming. Frustrated, she tells the Joker, “I have done every test, every trial, every initiaton.”
Note that the sleazy guard is dressed in a cat print shirt in the scene where Joker (himself a transgressive, androgynous figure) has him in his power and makes him kiss his hand before saying, “You’re going to be my friend.” The cat print shirt suggests a power-trip-for-the-powerless turn-the-tables revenge fantasy, with the programmer subjected to the abuse he inflicted.
Diablo, whose name means Devil and who is tattooed to look like walking death, is a “pyrokinetic homeboy” (he calls it “the Devil’s gift”) a la Firestarter—a “meta-human” with trauma-based superpowers, which is a standard Monarch trope and the quasi-mythical Holy Grail of trauma-based mind control through its hybridization with the human potential movement and occult “science” (see MKOFTEN and Project Stargate). Should we call these “gammas”
Deadshot’s cyborg eye is an example of the one-eye motif. The black gangster that Joker kills has a third eye tattooed on his head and a cross under one eye (religious inversion, cross under the one eye), along with horns tattooed on his head (more Satanism).
In Rick’s introduction, he is said to be “currently assigned to A.R.G.U.S.,” which links the occult symbol of the all-seeing eye to intelligence work.
Deadshot buys a doll for his daughter, whom the CIA is using to control him. There are butterflieson the walls in her apartment and a crown graffitied in the hallway just outside the entry door.
The symbolism of the “king and queen” (i.e., the monarchy) comes up quite a bit. Waller says of Joker and Harley, “They became the king and queen of Gotham,” as we flash on a shot of them in masquerade getup. Usually the Joker is the clown prince of crime—which underscores the Monarch subtext.
In the b.g. of the scene where Col. Rick and Dr. Moone are getting physical, there are oversized chess piece kings and queens flanking the two lamps. In the context, the implication is that the symbolism relates not just to mind control but to sex magic. (Enchantress, in another scene, makes the sign of silence to Rick, which may imply that he has been initiated by her.) That her powers are activated while she’s gyrating her body confirms that this is sex magic. She’s using sex to brainwash and zombify everyone into her army of destruction, which mirrors red pill programming.
Diablo makes a fiery crown on his head in the flashback to one of his pyrokinetic outbursts on the prison yard. Given that he’s a Fed-controlled “meta-human” (read, a mind control slave), this is the Monarch crown of slavery.
Waller says, “Getting people to act against their self-interest for the national security of the United States is what I do for a living.” Waller the master manipulator—and this formula is very close to the stated mission of MKUltra, the goal of which was to create hypnotized operatives who would do things for their programmers in the trance state that they would not otherwise do.
Waller, who is a portrait of the deep state mentality if not a symbol of the deep state itself, aspires to the total mind control powers exercised by the Enchantress, her ability to transform even the lowest human material into a perfect mind-control zombie. She boasts at one point that she controls the witch’s heart and thus Flag, who is controlled by her, will “follow my orders as holy writ.” (Remember Jay’s principle that the villains are often the elites preferred picture of themselves. Which I understand in terms of Aquino’s principle of projecting omnipotence, which in cinema frequently takes the form of what I call spiritual terrorism.)
Maybe mention Monarch stuff in Arkham Asylum video game.
Deep State Satanism
The iridescent color scheme (reminiscent of Wonder Woman 1984 and Annihilation) of the opticals is associated with Satanism or Luciferianism.
“Sympathy for the Devil” plays over the intro of Waller, the black CIA boss who controls the squad. Later, Harley asks Waller worshipfully, “Are you the Devil?” Later, Rick identifies her as “God,” saying, “Behold the voice of God” before he puts her up on the screen.
Equating God and Devil (occult union of opposites) and both with intelligence community/deep state: national security Feds, which is really a front of Spectre, as the dark self.
Waller “leverages [peoples’] weaknesses”—and the film celebrates diabolical manipulation like this. Some Revelation of the Method here: intelligence forces behind film preying on weaknesses even as they reveal the centrality of this tactic to intelligence handlers/case officers.
Waller’s helicopter is #23, the number of chaos and of pseudo-synchronistic mind games.
Killer Croc another example of Hollywood pushing the alligator/crocodile totem. Cf., e.g., recent Lyle Crocodile movie. And consider “Crocodile Blood” by Bring Me the Horizon.
The ritual crime scene
Rick Flag and his unit discover June Moone ritually posed, apparently just recovering from a bout of possession by Enchantress. There’s a unicursal hexagram over her heard, tall wheat framing her figure all around and marking her as the sacrificial grain goddess. It looks like something out of the first season of True Detective. She says, “Help me.” What is going on here? What has Enchantress been doing? Performing cult rituals in preparation for her takeover of the world through mass possession? The other cult members are dead or killed by Flag’s men—some have hexagrams over their eyes.
There’s a large, probably plastic figure of a dog, maybe a greyhound, in the scene. The dogs of Hekate? (Dogs are used by the prison guards, and they figure in the aforementioned music video tie-in directed by Ayers.)
More Deep Politics
Batman, played by CIA shill Ben Affleck, got a “tip” from Waller (CIA) to bust Deadshot so that they can control/use him; that is, Batman is a (willing) tool of the CIA/deep state. The mid-credits scene with Bruce and Waller suggests that he is also trying to work the deep state for his own purposes, namely, developing his meta-human “team”—which of course is also ultimately being led along by deep states forces. Also revealing is that “Van Criss Laboratories,” which apparently develops nano-weapons used by the deep state, is a subsidiary of Wayne Enterprises.
Waller: “In a world of flying men and monsters, this [forming the Suicide Squad] is the only way to protect our country.” Standard deep state pseudo-transmoral propaganda.
She also invokes US deal with mafia during WW2 to protect the docks to justify CIA collaboration with the dark side.
Note FEMA taking over disaster zone after Enchantress and Incubus start their reign of terror.
Deadshot: We’re the patsies; we’re the coverup.
More religious engineering
Death-of-America montage linked in with Snyder’s DC universe deconstruction of Superman as a stand-in for traditional religion and traditionalism generally.
Deadshot: “This shit’s going to be like a chapter in the Bible.” (Think again about Snyder and religious engineering.)
Is the ending, where the Joker rescues Harley, a fantasy? The musical cue from “Bohemian Rhapsody”—the lyrics, “Is this the real life or is this just fantasy?”—suggests that it may be fantasy. Or it can also be read to cover the whole film, as it were, indicating the use of the method we’ve described at length with reference to Zack Snyder and in the Joker series, namely, the deliberately blurring of fiction and reality in order to change reality through fiction.
Etc.
Note the giant smiley face.
The racial politics involving Waller’s character is obvious: deep state wants to coopt minorities by promising them power in the New World Order.
[1][1] Note that she’s wearing green, the color of initiation.
