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S01E41: Eternal Dyson
Freaks of Hazard: SirVo @ 9.99
The salute does bear some resemblance to the three-finger sign of the Boy Scouts, that sign is used solely in greeting with a specific in-group meaning:
Honour God and the King
Obey the Scout Law
Initially, as the First Amendment Center also reported, when the focus was on the first book in the trilogy, The Hunger Games itself, complaints fell into three categories: that the trilogy was sexually explicit; that it was too violent; and that it was inappropriate for the age group reading it.
Another complaint about the Hunger Games trilogy—the “occult/satanic” claim—seems to have to do with the lack of religion in the trilogy. Indeed, what happens in the arena could be seen as a kind of human sacrifice—although the goal is to keep the districts from rebelling, rather than to placate some evil demon.
Here, too, however, context is key. The country in which all the characters live, Panem, is described as part of what once, long ago, used to be North America. At some time between then and the trilogy’s time, all religion was lost. So yes, Panem is faithless. But no one would describe Panem as anything but a nightmare society, so the books hardly endorse being faithless.
Ultimately, the core complaint about the Hunger Games trilogy may be the one that is based on its pervasive violence. But as with the trilogy’s mentions of sexuality, context is key. While the trilogy begins with a game, it ends with a war, and in war, there is violence. Indeed, author Suzanne Collins has stressed this aspect of the books—that they culminate in war—in her comments in response to complaints about the books’ violence level. But, importantly, the trilogy does not endorse violence for violence’s sake. The message is entirely to the contrary.
In Panem, the concepts of democracy and freedom have disappeared from America to be replaced by a high-tech dictatorship based on surveillance, monitoring, mass-media indoctrination, police oppression and a radical division of social classes. The vast majority of the citizens of Panem live in third-world country conditions and are constantly subjected poverty, famine and sickness. These difficult living conditions are apparently the result of a devastating event that engendered the complete economic collapse of North America. In District 12, home of the hero Katniss Everdeen, the locals live in conditions similar to the pre-industrial era where families of coal miners lived makeshift in shacks and eat rodents as meals.
While the masses look as if they are living in the 1800s, they are nevertheless subjugated to the high-tech rule of the Capitol, which uses technology to monitor, control and indoctrinate the masses. Surveillance cameras, RFID chips and 3D holograms are abundantly used by the government to manipulate the will of a weak and uneducated population (although there are signs of solidarity and rebelliousness among the peasants). To preserve the fragile social order, the Capitol relies on a massive police force that is always ready repress any kind of uprising. The workers are often rounded up in civilian camps where they are shown state-sponsored propaganda videos. Panem is therefore a high-tech police state ruled by a powerful elite that seeks to keep the masses in poverty and subjugation. As we’ve seen in previous articles on this site, all of these concepts are also thoroughly represented in other forms of media as there appears to be a conscious effort to normalize the ideas of a high-tech police state as the only normal evolution of the current political system.
The government’s reliance on high-tech surveillance and mass media to keep the population in check is something we are already seeing and, if we keep going in that direction, the world of The Hunger Games will soon become reality. There is another concept important to the occult elite that is at the heart of The Hunger Games, however: Blood sacrifices to strike fear and gain power.
The rules of the Games reflect the elite’s contempt and total lack of respect for the masses. The name of the Games itself is a reminder of the state of perpetual starvation the lower class is purposely kept in by the rulers in order to better control it.
The boys and girls that are selected to take part in The Hunger Games are called “tributes”, a term that usually describes a payment rendered by a vassal to his lord and thus even reflects the servitude of the mass to its rulers. Since time immemorial, blood sacrifices were considered to be the highest form of “tribute” to gods and, on an occult level, were said to wield the most potent power to be tapped by rulers and sorcerers. The same way ancient Carthaginians sacrificed infants to the god Moloch, inhabitants of Panem sacrifice their children to the Capitol. The Hunger Games are therefore a modern version of these ancient rituals that the masses had to participate in to avoid the wrath of their superiors.
While there is no shortage of violence in Hollywood, The Hunger Games movie crosses a boundary that is rarely seen in movies: Violence by minors and towards minors. In this PG-13 movie we see kids aged between 12 and 18 violently stabbing, slashing, strangling, shooting and breaking the necks of other children – scenes that are seldom seen in Hollywood movies. While it is surely a way for the movie the grab the attention of the movie’s target audience (which happens to be teenagers aged 12 to 18) The Hunger Games brings to the forefront a new form of violence that was previously deemed too disturbing to portray in movies.
The Hunger Games is set in world that is exactly what is described to be the New World Order: A rich and powerful elite, an exploited and dumbed-down mass of people, the dissolving of democracies into a police state entities, high-tech surveillance, mass media used for propaganda and a whole lot of blood rituals.
"The techniques of brainwashing developed in totalitarian countries are routinely used in psychological conditioning programs imposed on American school children. These include emotional shock and desensitization... isolation from sources of support [parents], stripping away defenses... and inducing acceptance of alternative values..." Thomas Sowell, PhD.
"Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies.... [In 1984] people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we hate will ruin us. Huxley feared that what we love will ruin us."
Say what you will about the new film version of “The Hunger Games”—one thing it’s not is rebellious. A key to the film’s success is that it only flirts with real violence, pain, and outrage—in the end, it’s a family film, which offers parents a chance to bond with their kids over the bewildering nastiness that is adolescence. If it’s rebellion you want, you’re better off seeing the Japanese film “Battle Royale,” made in 2000 and newly available on DVD in the U.S., which anticipated “The Hunger Games” and, in many ways, bettered it. “Battle Royale” is also about a group of teen-agers murdering each other in a gladiatorial contest. But its extreme violence and candor—it was nearly banned by the Japanese Diet—lets it say the things “The Hunger Games” can’t quite bring itself to say.
In terms of violence, “Battle Royale” is to “The Hunger Games” as punk is to emo; in “Battle Royale,” the killing is relentless, shocking, cruel, and bloody. In an early scene, two earnest girls stand on a bluff, using a megaphone to suggest that everyone put down their weapons, get together, and make a peace pact; they are machine-gunned from behind, and their killer uses the megaphone to broadcast the agonies of their death to the entire island. In another scene, a boy suggests to a popular girl that they might make love, so that they won’t die without losing their virginity; when he threatens to force the issue with his crossbow, she wrestles him to the ground and stabs him repeatedly in the groin. Quentin Tarantino cast this actress, Chiaki Kuriyama, as Gogo, the mace-wielding schoolgirl, in “Kill Bill.” He’s said that “Battle Royale” is the one film released since he started making movies that he wished he’d made.