Topic: Metropolis

Jones argues that globalists use media, such as the film Metropolis, to normalize human sacrifice and enslavement. He introduces a report by John Bowne regarding a "shadow 9-11 commission" involving Ghislaine Maxwell. Jones claims his own demonization is a result of his success in exposing 9-11 and other globalist agendas.

The 1927 film *Metropolis* is cited as predictive programming for a satanic ceremony where human essence is transferred into a cybernetic robot. The narrative suggests that globalists receive these ideas from interdimensional creatures rather than their own imaginations. Humans are framed as "nanobots" being farmed to build a new species for these entities.

The host argues that the West has lost its "tribal self-defense instinct" due to cultural domestication. He references films like *Metropolis* and *THX 1138* as prophetic warnings about technocratic control. The segment posits that true Christianity is the primary threat to the "New World Order" because its doctrine warns against a global beast system and a cashless society.

The 1927 film "Metropolis" by Fritz Lang is cited as an early depiction of elite rituals involving the draining of human plasma to animate an "Antichrist goddess." This cinematic narrative is viewed as a reflection of the actual religious beliefs of the global elite. The transfer of human essence into machines is a central theme in modern transhumanist agendas.

Jones characterizes AI as a "ghost machine" and a "satanic transmission" designed to replace the human spirit. He compares the current technological trajectory to the film Metropolis, where a machine-human hybrid is used to deceive the masses. He argues that Silicon Valley's "San Francisco consensus" is an inversion of God's creation, intended to lead humanity toward the Mark of the Beast.

Fritz Lang's "Metropolis" (1927) is cited as the earliest cinematic prediction of AI and its potential to destroy the social fabric. Jay Dyer highlighted the film's use of occult imagery, including inverted pentagrams, to link technological advancement with "dark alchemical science." The film's "Machine-Man" is viewed as a precursor to modern transhumanist concepts and the "Babylonian" collapse of society.

The 2022 film Babylon, starring Brad Pitt, is discussed as an accurate portrayal of the "Wild West" era of Hollywood before the implementation of the Hayes Code. The industry's move from New Jersey to California was driven by the need for sunlight and a desire to escape social restrictions. The Babylonian Courtyard in Los Angeles, featuring ancient Mesopotamian imagery, stands as a physical testament to Hollywood's occult foundations.

Fritz Lang's 1927 film Metropolis is analyzed as a prophetic vision of a future dystopia where workers are sacrificed to a "Moloch" machine. The film features the creation of a robot through a combination of black magic and science, serving as an early depiction of an AI sex bot. Pop stars like Beyonce have emulated the film's imagery, signaling the continued relevance of its occult and technocratic themes.

Jones references George Lucas's debut film THX 1138 as a literal blueprint for a future where humans are drugged, shaved, and controlled by robots. He warns that the "metaverse" and transhumanist technologies are stepping stones toward a world where humans are terminated or re-engineered by a biomedical elite. The segment concludes with a comparison to the classic silent film Metropolis.

Jones discusses the transhumanist agenda, claiming the global elite seek to use advanced technology to achieve immortality while depopulating the planet for their own benefit. He references the 1927 film "Metropolis" as a blueprint for turning humans into a "produced commodity." Jones alleges that vaccines and other medical interventions are being used to modify human genetics and suppress spiritual or emotional connections to God.