viernes, 30 de mayo de 2014




"Best Guidelines For Spotting Reptilian Eyes:

Publicado el 02/05/2014
The key concept of shapeshifting: The actors do it at a distance from the camera in very quick, fleeting moments. Zooming in on their eyes is the technique that allows these subliminal moments to become consciously perceptible. Do you have the talent for spotting and documenting the phenomenon? I've been observing Reptilian actors and gradually figuring out how to document the shapeshifting phenomenon:

1. When I first started making videos, I over-analyzed the actor's appearance. I was eager to spot the moments where they slitted their eyes. I documented too many moments that were vague...MAYBE they were slitting their eye...MAYBE they weren't. I realized that the best way to make these videos was to ask myself all the questions that a skeptic would ask: COULD it be a light reflection in their eye? COULD it be the motion-blur? IS the image too blurry to depict a convincing shapeshift? Over time, I came to realize that shapeshifting is such a subtle phenomenon that it's useless to document any vague (or less than highly convincing) shapeshifts. The best shapeshifts are have to get lucky to find them. I have watched entire movies and never found one good moment of shapeshifting. The general tendency is for movies and TV shows to only rarely depict an actual shapeshift. Looking for shapeshifts worth documenting involves a lot of time spent not finding them.

2. I eventually realized that there was a better way to spot shapeshifts: Become a psychologist!
The actors like to use their shapeshifting eyes to subliminally enhance the evil, deceptive or ruthless nature of the characters they portray. I learned that by thinking like they do, I could anticipate the key moments when they were likely to shapeshift. Whenever the emotions are strongly negative, the actor is more likely to display their Reptilian eyes. When they are being merciless or cruel (or just about to kill someone) is a great place to check their eyes. This aspect of shapeshifting is also a great way to show skeptics that the phenomenon is not random. The less random the phenomenon can be documented to be, the harder it is for skeptics to claim it's not real. Explaining WHY the shapeshift occurs is very important.

3. Amazingly, the actors seem to deliberately provide us with an irrefutable form of shapeshifting: They will make the black line (or slit) extend BEYOND their physical human eyelids. Sometimes, this elongated Reptilian slit will even go up to their EYEBROW. I call it the 'Clown Slit' - because the Reptilians allude to it by depicting it in clown makeup designs: The best example I ever found was George Raft in 1932's "Scarface"...he performed a perfect example of the 'clown slit' that we would NEVER see in modern films:

4. Since most movies and shows DO NOT emphasize shapeshifting Reptilian's important to ASSESS the tendency of the movie or show you are watching. You want to identify the ones that DO place an emphasis on displaying Reptilian eyes. You'll want to watch these movies MUCH MORE CLOSELY. On the other hand, it's mostly a waste of time to watch a movie or show that doesn't emphasize shapeshifting. For example, "Dexter" placed a HUGE emphasis on making the show darker and more scary by allowing Michael C. Hall to constantly flash his Reptilian eyes:
On the other hand, if you watch "Weeds" or "Mad Men", you are just wasting your time looking for good shapeshifts. These shows do not place any emphasis on shapeshifting.

5. Many of the best shapeshifts happen in darker lighting. An actor will go farther when they have shadows over their eyes. To spot these nice shapeshifts, you have to lighten the image. I have brightness, contrast and gamma settings on my DVD player that allow me to bring out many of these shapeshifts and expose them to the light:

6. As you watch a film or show, the best approach is to look for the combination of MOTIVE and OPPORTUNITY: Does the actor have a psychological motive for shapeshifting their eyes? (Are they doing something bad, or experiencing powerful, negative feelings?) If so, what kind of camera shot is it? They will NEVER shapeshift in close-up, so there's no point in looking. Do they have the OPPORTUNITY to shapeshift? Are they at least a few feet away from the camera and NOT in close-up? When they have a motive AND an opportunity, that's when you want to zoom-in and watch very closely. Persistence is the most important factor. Each time you spot one, adopt the skeptic's attitude: Is there ANY WAY to deny this shapeshift? Can it be explained in ANY other way?
The best shapeshift give the least 'wiggle room' for skeptics."


1) JOHNELLIZZ has identified a real phenomenon: it is possible to recognize specific images that make look certain eyes like those of reptilians. These images are so fast that we can call them "subliminal".

Naturally, a primite knowledge of the filmmaking technique allows us to understand that the image that we see on the screen is a fiction, a fantasy. The image is ellaborated in such a way that it will impact our perception. Yes, the people fly when they are inside airplanes but "Superman" is a nice story and no more than that. Shapeshifting reptilians is an exciting fantasy but, we should investigate who and why is promoting these ideas with so much interest.

2) WE HAVE RECOGNIZED that narratives similar to that of the so called "terrorist attack" in New York, September the 11th, 2001 has been around for decades, becoming a factor to fear in the contemporary world. Obviously, that factor of fear has been introduced consciously by people who have specific interests.

The method to introduce that fear, at least partially, has been through subliminal imagery in the movies. At a specific frightening moment of the movie, the images and symbols would be shown subliminaly or just shown without explaining them, so the symbols and images would be related to the emotions of fear, horror, terror, uncertainty. Thus, when the real false-flag attack finally happened, its representation (the images, numbers, symbols that depicted the event) induced fear as a learned response. The theory about this is well know and whoever read a bit about pavlovian conditioning understands how this works.

A clear example of these subliminals is the movie "LETHAL WEAPON" (1987) produced by Joel Silver and Richard Donner and directed by Mr. Donner. Here it is possible to read about it:

Also, reading this scholar project would be helpful:


3) WE THINK THAT what JOHNELLIZZ has identified is one of the components of PROJECT BLUE BEAM, in fact, the propaganda component of it, that applies subliminals in the same way that they were applied to make believe the "terrorist attack" in N.Y., September 11, 2001.

We can read a scholar project that intended to investigate the use of subliminals in relation to the PROJECT BLUE BEAM:

"Hollywood And Project Blue Beam: Predictive Programming, Subliminals, And Information Operations."

Analyzing the evidence, we have to deduce that one of the scenarios that the American military-industrial complex has designed in relation to the PROJECT BLUE BEAM is the one of the REPTILIANS o REPTOIDZ as JOHNELLIZZ loves to called the non existent beings. The popular culture has been impregnated with the appropriate narratives through books, comic books, tv series, movies. All this is very easy to understand reading this article. 

At the end, the American military-industrial complex is fooling itself and no one else. Of course, all the people who works for "the complex" will say that this false-flag will work perfectly.

PERUCINE.BLOGSPOT.COM do not judge them. We just smile because we are compassionate. Acquiring wisdom takes more time for certain beings. :-)

4) JOHNELLIZZ has contributed magnificently to the understanding of the propaganda techiques used by the so called "technocracy."

5) Congratulations JOHNELLIZZ! Another aspect the JOHNELLIZZ has pointed out is the use of SUBTEXT or METHAPHORES in the film narratives that resemble religious discourse.

This has been noticed by other researchers too, and PERUCINE.BLOGSPOT.COM thinks that this is the RELIGIOUS COMPONENT of PROJECT BLUE BEAM. The movies indirectly teach the world audiences the existence of a new religious discourse that explains all the other religions. Naturally, this new religion matches ideally the interests of the U.S. military-industrial comple and the interests of all the other capitalist conglomerates that take economic advantage of the existence of wars and "crime" and fear in the society.  

We recommend this two videos edited by JOHNELLIZZ:

PSYCHO (1960). Directed by Alfred Hitchcock.

THE EXORCIST (1973). Written by William Peter Blatty. Directed by William Friedkin.
Título: "NUEVA VISITA A UN MUNDO FELIZ" [Título original: "BRAVE NEW WORLD REVISITED"]. Autor: ALDOUS HUXLEY. Editorial: EDITORIAL SUDAMERICANA, Buenos Aires, sexta edición septiembre de 1972. 149 páginas.

Página 149:



I. Exceso de población ............................................. 7
II. Cantidad, calidad, moralidad ................................ 9
III. Exceso de organización ..................................... 27
IV. La propaganda en una sociedad democrática ...... 41
V. Propaganda bajo una dictadura .......................... 51
VI. El arte de vender ............................................. 61
VII. Lavado de cerebros ........................................ 75
VIII. Persuasión química ........................................ 87
IX. Persuasión subconsciente ................................. 97
X. Hipnopedia ..................................................... 107
XI. Educación para la libertad .............................. 121
XII. ¿Qué puede hacerse? ................................... 135"

Páginas 100, 101, 102, 103, 104, 105:

"Para procurarnos unas cuantas indicaciones sugestivas, pasemos de los vendedores de palomitas de maíz a quienes, con menos ruido pero más imaginación y mejores métodos, han estado efectuando experimentos en el mismo campo. En Gran Bretaña, donde el procedimiento de manipular las mentes por debajo del nivel de la conciencia recibe el nombre de "inyección estrobónica, los investigadores han remarcado la importancia práctica de crear las condiciones psicológicas adecuadas para la persuasión subconsciente. Una sugestión por encima del umbral de la conciencia tiene probablemente más efecto cuando el destinatario está en un leve trance hipnótico, bajo la influencia de ciertas drogas o debilitado por la enfermedad, el hambre o cualquier clase de tensión física o emocional. Pero lo que es verdad para las sugestiones por encima del umbral de la conciencia también lo es para las sugestiones por debajo de ese umbral. En pocas palabras, cuanto menor es la resistencia psicológica de una persona, mayor es la eficacia de las sugestiones inyectadas estrobónicamente. El dictador científico de mañana instalará sus máquinas murmuradoras y proyectores subliminales en escuelas y hospitales (los niños y los enfermos son muy sugestionables), así como en todos los lugares públicos donde la gente pueda ser sometida a un ablandamiento preliminar por medio de una oratoria o unos rituales que aumenten la impresionabilidad de cada cual.
De las condiciones en que cabe esperar que la sugestión subliminal sea efectiva, pasemos ahora a las sugestiones mismas. ¿En qué términos debe dirigirse el propagandista a las mentes subconscientes de sus víctimas? Las órdenes directas ("Compre palomitas de maíz" o "Vote por Jones") y las afirmaciones absolutas ("El socialismo hiede" o "La pasta dentrífica X cura la halitosis") surtirán únicamente efecto, según todas las probabilidades, en aquellas mentes que son ya partidarias de Jones y las palomitas de maíz o que están ya muy alertas a los peligros de los cuerpos malolientes y de la propiedad pública de los medios de producción. Pero fortalecer la fe existente no es bastante; el propagandista, si ha de merecer el nombre de tal, debe crear una nueva fe, debe saber cómo atraer a su campo al indiferente y al indeciso, debe ser capaz de ablandar y hasta tal vez de convertir al adversario. Sabe que, a la afirmación y a la orden subliminales, debe añadir la persuasión subliminal.
Por encima del umbral de la conciencia, uno de los métodos más efectivos de persuasión no racional es lo que podría llamarse persuasión por asociación. El propagandista asocia arbitrariamente el producto, candidato o causa que ha elegido con alguna idea o imagen de persona o cosa que la mayoría de la gente, en una cultura dada, considera indiscutiblemente como buena. Así, en una campaña de venta, la belleza femenina puede ser relacionada arbitrariamente con cualquier cosa, desde un bulldozer hasta un diurético; en una campaña política, el patriotismo puede ser relacionado con cualquier causa, desde el aparheid hasta la integración, y con cualquier clase de persona, desde un Mahatma Gandhi hasta un senador McCarthy. Hace años, en la América Central, observé un ejemplo de persuasión por asociación que me inspiró una reverente admiración por los hombres que la habían ideado. En los montes de Guatemala, las únicas obras de arte importadas son los calendarios en colores distribuidos gratuitamente por las compañías extranjeras cuyos productos son vendidos a los indios. Los calendarios norteamericanos mostraban perros, paisajes y jóvenes mujeres en un estado de desnudez parcial. Para los indios, sin embargo, los perros son meramente objetos utilitarios, los paisajes están demasiado ante sus ojos todos los días de su vida y las rubias semidesnudas carecen de interés y son tal vez un poco repulsivas. Consiguientemente, los calendarios norteamericanos disfrutaban allí de mucho menos popularidad que los calendarios alemanes, pues los anunciantes alemanes se habían tomado el trabajo de averiguar lo que los indios apreciaban. Recuerdo especialmente una obra maestra de propaganda comercial. Era un calendario editado por un fabricante de aspirina. Al pie del cuadro se veía la conocida marca sobre la conocida botellita de blancas pastillas. Encima de esto, no se veían paisajes nevados, bosques otoñales, sabuesos o coristas de suntuosas delanteras. No, no. Los astutos alemanes habían asociado sus calmantes con un cuadro de brillantes colores y lleno de vida que representaba a la Santísima Trinidad sentada en una nube y rodeada por San José, la Virgen María, variados santos y numerosos ángeles. Las milagrosas virtudes del ácido acetilsalicílico quedaban así garantizadas, en las mentes sencillas y profundamente religiosas de los indios, por Dios Padre y toda la corte celestial.
Esta clase de persuasión por asociación es algo a lo que las técnicas de la proyección subliminal parecen prestarse muy bien. En una serie de experimentos llevados a cabo en la Universidad de Nueva York bajo los auspicios del Instituto Nacional de la Salud, se comprobó que los sentimientos de una persona respecto a una imagen conscientemente vista podían ser modificados asociando esta imagen, en el nivel subconsciente, con otra imagen o, todavía mejor, con otras palabras de un valor determinado. Así, cuando se lo relacionaba, en el nivel subconsciente, con la palabra "feliz", un rostro sin expresión alguna parecía sonreír al observador, mostrarse amable, cordial y expansivo. Cuando el mismo rostro quedaba relacionado, también en el nivel subconsciente, con la palabra "airado", adquiría una expresión ceñuda, una expresión que parecía hostil y desagradable al observador. (A un grupo de mujeres jóvenes también pareció muy masculino, cuando, momentos antes, al asociarlo con la palabra "feliz", les había hecho el efecto de un rostro perteneciente a un miembro de su propio sexo. Tomen nota de esto, padres y maridos.) Para el propagandista comercial y político, estos datos, claro está, son muy importantes. Si pudiera colocar a sus víctimas en un estado de impresionabilidad anormalmente alta, si pudiera mostrarles, mientras estuvieran en ese estado, la cosa, la persona o, por medio de un símbolo, la causa que tiene que vender y si, en el nivel subconsciente, pudiera asociar esta cosa, persona o causa con una palabra o una imagen de un valor determinado, podría modificar los sentimientos y opiniones de sus víctimas sin que éstas tuvieran la menor idea de lo que estaba haciendo. Según un emprendedor grupo comercial de Nueva Orleáns, estas técnicas permitirían incrementar el valor como espectáculo de las películas y el teatro televisado. A la gente agradan las emociones fuertes y disfrutan por tanto con las tragedias, los dramas, los asesinatos envueltos en el misterio y las pasiones extremas. La dramatización de una pelea o de un abrazo produce fuertes emociones en los espectadores. Podría producir emociones más fuertes todavía si cupiera asociarla, en el nivel subconsciente, con palabras o símbolos adecuados. Por ejemplo, en la versión cinematográfica de Adios a las Armas, la muerte de parto de la heroína podría ser todavía más angustiosa de lo que ya es relampagueando subliminalmente en la pantalla, una y otra vez, durante la representación de la escena, palabras siniestras como "dolor", "sangre", "muerte". Conscientemente, las palabras no serían vistas, pero su efecto sobre la mente subconsciente sería muy grande y estos efectos podrían reforzar poderosamente las emociones evocadas, en el nivel de la conciencia, por la representación y el diálogo. si, como parece muy cierto, la proyección subliminal puede intensificar firmemente las emociones sentidas por el público de los cines, la industria cinematográfica podría aún ser salvada de la bancarrota, siempre, claro está, que el teatro televisado no se le adelante.
Teniendo en cuenta lo que queda dicho sobre la persuasión por asociación y el realce de las emociones con la sugestión subliminal, tratemos de imaginarnos lo que será un mitin político del futuro. El candidato (si es que cabe hablar todavía de candidatos) o el representante nombrado por la oligarquía gobernante, pronunciará su discurso para que todos lo oigan. Entretanto, los taquistoscopios, las máquinas susurradoras y chilladoras, los proyectores de imágenes tan difusas que sólo el subconsciente las podrá captar y todo lo demás estarán reforzando lo que el orador diga asociando sistemáticamente al hombre y sus causas con palabras de carga positiva e imágenes veneradas e inyectando estrobónicamente palabras de carga negativa y símbolos odiosos siempre que mencione a los enemigos del Estado o del partido. En los Estados Unidos, serán proyectados en la tribuna breves relampagueos de Abraham Lincoln y de las palabras "gobierno" del pueblo". En Rusia, el orador será asociado, desde luego, con vislumbres de Lenin, las palabras "democracia del pueblo" y la profética barba del Padre Marx. Como todo esto está todavía de modo muy seguro en lo futuro, podemos permitirnos una sonrisa. Transcurridos diez o veinte años más, las cosas nos parecerán probablemente mucho menos divertidas. Porque lo que es ahora mera fantasía científica se habrá convertido en realidad política cotidiana.
Poetzl fue uno de los portentos que pasé en cierto modo por alto cuando escribí Un Mundo Feliz. Mi fábula no hace ninguna referencia a la proyección subliminal. Es un error por omisión que, si volviera a escribir hoy el libro, corregiría con toda seguridad".


U.S. Air Force Project RAND. Research Memorandum.
The Exploitation of Superstitions for Purposes of Psychological Warfare
Jean M. Hungerford
14 April, 1950



lunes, 19 de mayo de 2014


Hollywood producer Arnon Milchan was Israeli spy

Arnon Milchan is probably one of the most well known Israeli-Americans due to the fact that he produced some of the most famous Hollywood blockbusters including Pretty Woman, Fight Club and LA Confidential.

Forbes magazine has places him as the thirty-seventh wealthiest Jews in the World.

But it seems Milhcan has a dark secret he has kept for many years. In an exclusive TV interview to Ilana Dayan on her investigative show, Uvda, which means Facts in Hebrew, she has gotten him to admit for the first time on record about his secretive and sometimes illegal involvement on behalf of the Israeli government.

Ilana Dayan: Have you noticed anything back then?

Robert De Niro: I had heard but I wasn’t sure.

The Ilana Dayan expose has gone viral even before the official airdate of the show; something that Dayan says is not really that surprising.

Ilana Dayan, Host of Uvda TV show:

"In a way, it's not really surprising. You have a mega producer, you have mega Hollywood stars, you have this sexy glamorous environment, you have this clandestine war, you have nuclear triggers.

It's really all the ingredients one needs to make a hell of a story, so it's really not surprising. I am not sure what he had in mind, he didn't make any conditions, he didn't make any reservations, he didn't ask for anything, he didn't take any breaks, I asked whatever I wanted – he answered whatever he wanted. But I think, in the bottom line, what he wanted is for people in this country to know what he did for them overseas."

Arnon Milchan: Do you know what it’s like to be a kid of twentysomething who’s country lets him be James Bond? 

For many years rumors have surrounded what Arnon Milchan actually did on behalf of the Israeli government but now explains Dayan its all out in the open.

Ilana Dayan, Host of Uvda TV show:

"It's amazing when you understand that he was only twentysomething and the State of Israel gets into one of the weirdest and darkest alliances it ever made with South Africa, the Apartheid regime was at its worst, but the South Africans offered Israel Uranium for Dimona, in exchange Israel promised to embark on an amazing unprecedented international PR campaign to put a nice face on Apartheid and who better for the job than Arnon Milchan and he's the one designated by Shimon Peres to go to South Africa and to embark on that public relations affair. Hundreds of millions of dollars, Milchan admits to have received on behalf of the State of Israel, from the South Africans to buy television stations, it was even contemplated to buy the Observer, the Daily Express, he's speaking on it on camera, I was amazed because you know, for many years, people have spoken about it, have heard about it, it was kind of rumored but I didn't really imagine him coming on camera and confessing."

Uvda has followed Milchan on-and-off for over a year and then one moment like a catharsis waiting to explode it all came out admits Dayan, who was with him on his private yet enroot to the set of his newest flick.

Ilana Dayan, Host of Uvda TV show:

"It's very evident, in retrospect, that it was in there, it was in him, it was waiting to burst out, it is very evident. Two minutes before landing, all of the sudden it comes out: I did it, I did it for Israel, because people in Hollywood always kind of held it against me and I kept defending myself and I kept apologizing and I kept evading the questions and now I want to say it out loud. And I think it has to do with age, it has to do with success, it has to do with the fact that nobody can really harm him today, he's wealthy enough, he's successful enough, he's powerful enough, who cares!"

It’s not secret that Milchan is one of the most important movers and shakers in Hollywood, however being there with him when it happens is very overwhelming say Dayan.

Ilana Dayan, Host of Uvda TV show:

"First of all, it was a hell of a ride. I mean, the guy arranged for us to meet David Fincher, Ben Affleck, Warren Beatty, Jennifer Connelly, Russell Crowe, Robert de Niro, you name it. Some of them, by the way surprised us and him, in term of what they said, and yes, it's evident that many of them either heard or knew, or saw something and it's, it's specially, particularly interesting to watch De Niro answer these questions because when Milchan was in the midst of the biggest drama of his life, when one of the shipments of nuclear triggers for Israel went wrong this was the time in which he was filming 'Once Upon a Time in America', he was dying for De Niro to take the leading role. And De Niro sits with us in his upstate New-York mansion and he says: 'I heard something about these little triggers of nuclear something but I didn’t ask him much about it'. He knew that Milchan is undergoing really the biggest drama of his life. The guy that really I think puts it in place is Tom Rothman, the ex-chairman of FOX and I asked him 'Didn't it ever raise an eyebrow in this town in terms of dual loyalty?', and he says 'You know what, in this town there's one loyalty, one religion, one God – make hits, bring profits, that's the only thing that matters in Hollywood'."

A little known fact is that although Milchan has been living in the US since the eighties, he has never given up has Israeli citizenship nor become an American citizen. He is avidly devoted to Israel and has convinced many of the Hollywood A-Listers he works with to endorce the Jewish state publicly.

Ron Jacobsohn, JN1, Tel-Aviv