What lies behind the popularity of the Nutcracker?
Walt Disney used it as the score for Fantasia.
There Mickey Mouse appears as the Sorcerer’s Apprentice.
Walt Disney was a freemason, and he was a child molester.
You can learn about his crimes in Thanks for the Memories.
The New York City Ballet performs The Nutcracker forty-seven (47) times every season.
That’s a masonic number.
So is seven.
No wonder the Mouse King has seven heads.
The Freemasons are involved in child molestation.
And The Nutcracker concerns a strange gift from the old man, Drosselmeyer, to his goddaughter.
E.T.A. Hoffmann wrote the story.
Hoffman describes Illuminist, satanic, and masonic themes.
The Devil’s Elixirs describes memory gaps and drugs–hallmarks of mind control.
The author of the Nutcracker describes double identities, alters, and madness–hallmarks of mind control.
The author of the Nutcracker describes hearing voices–a hallmark of mind control.
The author of the Nutcracker describes hypnotism–a hallmark of mind control.
Check out The Sandman.
The Sandman involves torture, vengeance, and the creation of a robotic girl.
See the tessellated pavement: it’s just like a masonic temple!
Here’s another illustration from Hoffmann.
It comes from The Automata, which contains an android.
Just as The Nutcracker was made into a ballet, The Tales of Hoffmann were made into an opera.
Robots evoke cybernetics.
You can learn about cybernetics in Aaron and Melissa Dykes’ excellent documentary: The Minds of Men.
The Illuminati didn’t invent this stuff not to use it; it’s been around longer than you think; and they can’t resist showing off.
Odd how Drosselmeyer, who gives Marie a doll that comes to life, is a clockmaker.
In the original story, by Hoffmann, Marie is brainwashed by the Mouse King.
She tells her parents what happened in the nursery, but no one believes her.
That’s common for survivors: many do not believe my stories of what the CIA did to me.
In the Nutcracker, Marie is forced to leave her real life, forever, to inhabit a world of dolls.
The use of parallel worlds is a hallmark of MK-ULTRA.
This is picked up by Maurice Sendak, who participated in the version produced by the Pacific Northwest Ballet.
Maurice Sendak liked to scare children.
Here you can an illustration from his book: Presto and Zesto in Limboland.
Maurice Sendak said of The Nutcracker,
When I did read it, I became very interested, because it was a very bizarre story. It’s a very bizarre story.
Maurice Sendak compared the piece to Grimm’s Fairy Tales.
As in the Nutcracker, Sendak described parallel worlds, full of horrors, which children visit at night, in Where The Wild Things Are.
And he did so In The Night Kitchen.
See the tessellated pavement–just like in a masonic temple?
Spirit cooking anyone?
Like in PizzaGate–where people did not believe the stories of child victims?
Professor Jack Zipes says that Sendak’s version of The Nutcracker, with his sets and libretto, is the only one that captures Hoffmann’s original spirit.
Women starving themselves is not the only thing unhealthy about this ballet.
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Our enemy depends on silence.