The Kingdom of Magic

It's a small world after all...

“Every leader is telling a story… about what he or she values.”

— Walter Elias Disney (33°)

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The Regime identified movies and television as peerless tools of psychological warfare from the very inception of these mediums. As I have covered in previous articles (such as Black Ops & Black Magic, Part II or The Power of Symbols), the potent ability for these mediums to barrage the viewer with subliminal and overt messaging makes it an incredibly powerful tool in the hands of these malefic entities. The Office of Strategic Services (OSS), the precursor to the CIA, reported that “the motion picture is one of the most powerful propaganda weapons at the disposal of the United States.” This declassified OSS report identified the ability for movies to stimulate or inhibit action, the ability to allay or aggravate anxiety, as well as the powerful ability to form attitudes and belief systems. The crucial part that cinema and television has had in the pantheon of psychological weaponry is impossible to overstate.

The colossal role that the US military and CIA has in Hollywood productions is a well established fact. From script rewrites to outright pro-war agitprop, the US Government has had generations of directors and studios under their thumb. From 1911 to 2017, the US government financially sponsored nearly 2,000 movies and televisions show. This collusion has skyrocketed in recent decades, with 900 of those 1100 television shows being created after 2005. The former CIA agent Bob Baer describes this intermingling between Hollywood elites and the US government: "All these people that run studios - they go to Washington, they hang around with senators, they hang around with CIA directors, and everybody's on board." This has been true since the inception of Hollywood.

One of the seminal figures in the last century of American cinema is Walter Elias Disney, commonly referred to by his shortened first name, Walt. The Disney brother’s childhood was admittedly a difficult one. Walt’s father Elias was an ardent and vocal socialist, as well as a rigid disciplinarian. Physical beatings and daily punishments were a fixture of the Disney brother’s upbringing. His escapism, his fascination with childhood and magic are almost certainly a direct result of the horrific abuse poured upon Walt as a young man.

At young ages, both Walt and his brother were initiates into the mystery cult of Freemasonry. At 19 years of age, Walt was the 107th member of the mother chapter of the Order of DeMolay in Kansas City, MO. In 1931, Walt received the DeMolay Legion of Honor, the highest attainable rank within the Order and the equivalent of a 33° Freemason. Long before their first feature film, a Masonic Mickey Mouse comic strip was a regular feature of the DeMolay national newsletter. While Walt’s brother Roy was a member of the Freemasons, he resigned from the fraternity later on in life.

— Walt Disney maintained long standing ties with the Order throughout his life.

The OSS and US Army worked closely with Disney Studios during World War II. After having his studio seized the day after Pearl Harbor, Walt helped the War Department churn out propaganda that targeted both children and adults alike. It is around this time period that Disney and War Inc. developed their close working relationship. In 1940, Walt became an FBI informant, a fact that even the New York Times has admitted:

Because of the information Disney provided the bureau, he was made a "full Special Agent in Charge Contact" in 1954. An "S.A.C. Contact" was usually a trusted informer who could provide transportation and equipment as well as public relations services to the bureau. Disney was not the only important informer in Hollywood; while president of the Screen Actors Guild in 1947, Ronald Reagan was designated "Source T-10" by the F.B.I., meaning he was a confidential source with the code name "T-10."

— Disney Link To the F.B.I. And Hoover Is Disclosed, May 6th, 1993, New York Times

Walt would remain an FBI informant and snitch from 1940 until his death in 1966. He was also not the only major figure within the company to work with the Federal government to popularize the war: effects artist Robert Carey Boughton worked for Disney before joining the OSS and creating propaganda for the US government during WW II.

During Disney’s infamous 1935 European trip, a fateful meeting between H.G Wells and Disney would alter the course of history. Wells was a vocal proponent of the New World Order, one of the perpetrators of the largest psy-ops in American history, a Fabian socialist, an occultist, a magician, and a master of hypnotism. It was Wells who seeded the idea of a utopian planned kingdom, the “city of tomorrow”, in Walt Disney’s mind. The Disney brothers would also meet Leni Riefenstahl, the King of England, and the Pope on this whirlwind European tour. Quite the star studded reception for a pair of American cartoonists.

This idea would eventually evolve into Walt’s Magic Kingdom, Disneyworld. Now Walt couldn’t just openly purchase the land, lest the landowners realize what was happening and drive up the price on him. Instead, Disney enlisted the help of two of history’s most infamous spooks: “Wild Bill” Donavan and Paul Helliwell. The pair created a network of shell companies to purchase the land under false pretenses for a fraction of their true worth.

Author and researcher T.D. Allman informs us of the extent of the dirty tricks used to create the “most magical place on Earth”:

Disney's key contact was the consummate cloak-and-dagger operator, William "Wild Bill" Donovan. Sometimes called the "Father of the C.I.A," he was also the founding partner of Donovan, Leisure, Newton & Irvine, a New York law firm whose attorneys included future C.I.A. director William Casey. Donovan’s attorneys provided fake identities for Disney agents; they also set up a secret communications center, and orchestrated a disinformation campaign. In order to maintain "control over the overall development," Disney and his advisers realized, “the company would have to find a way to limit the voting power of the private residents" even though, they acknowledged, their efforts "violated the Equal Protection Clause" of the U.S. Constitution. Here again the CIA was there to help. Disney's principal legal strategist for Florida was a senior clandestine operative named Paul Helliwell. Having helped launch the C.I.A. secret war in Indochina, Helliwell relocated to Miami in 1960 in order to coordinate dirty tricks against Castro. At a secret "seminar" Disney convened in May 1965 Helliwell came up with the approach that to this day allows the Disney organization to avoid taxation and environmental regulation as well as maintain immunity from the U.S. Constitution. It was the same strategy the C.I.A. pursued in the foreign countries. Set up a puppet government; then use that regime to do your bidding.

— T.D Allman, How the CIA Helped Disney Conquer Florida

The magnitude of the private intelligence network Walt Disney employed to create the Magic Kingdom is truly staggering. For just $200 an acre, the Disneys purchased over 27,000 acres to create their community of the future.

Crucial to the creation of Disney’s private corporate fiefdom was the assistance of the Floridian government; a scenario that we also see play out with then Governor Reagan (33°) and Disneyland in California. Florida Governor William Haydon Burns, yet another Mason, was pivotal in securing state assistance and funding to help create the park. Disney’s New York attorneys drew up laws that granted the company wide latitude and tax benefits, laws that were rubber stamped by Florida’s legislature with nary a peep. It was during Gov. Burns’ brief tenure that these laws were passed, creating the corporate kingdom within Central Florida that still exists today.

— Gov. William Haydon Burns and Dwight Eisenhower exchanging a Masonic handshake.

— Gov. William Haydon Burns exchanging Masonic handshakes.

— The Disney Brothers and Gov. Burns announce the creation of Disney World. Note Walt Disney’s Masonic handshake in the image above.

Walt Disney’ close friendship and working relationship with Nazi scientist and Project Paperclip member Werner von Braun is common knowledge. Von Braun was technical director on three Disney TV shows about space: Man in Space, Man and the Moon, and Mars and Beyond. Disney’s TV programs and his Tomorrowland attractions were pivotal pieces of propaganda to push the myth of space exploration upon the formative young minds of America. In retrospect, it’s obvious how the masters of propaganda were greasing the skids for the Moon landing hoaxes of the late 60’s and 70’s.

Disney executives have continued to work closely with the Federal government and intelligence agencies to this day. Disney executive Gordon Levin helped the Federal Aviation Administration implement biometric tracking technologies at airports in the wake of September Eleventh:

"Walt Disney World is responsible for the nation’s largest single commercial application of biometrics" and after 9/11 the government sought "Disney’s advice in intelligence, security and biometrics””

— This Is How We Know The Shocking Facts About Spy Campaign 'TrapWire' Are True, Business Insider

Bran Ferren served on advisory boards for the Senate Intelligence Committee, as well as offering his expertise to the National Security Administration and the Department of Homeland Security. Disney also provides yearly passes to CIA and FBI agents, for both recreational and official purposes. These Disney surveillance programs have served as the beta test to create the facial recognition software that is embedded within the architecture of the smart city surveillance grid.

While Walt Disney has been lambasted as an anti-semite and a racist in recent years, he was actually incredibly progressive for his time period. The subversive messaging of his movies has been noted by author’s such as Douglas Brode and Keith Booker, who both argue that Disney’s film had a profound impact on the counterculture movement of the 1960’s. The Walt Disney Museum is home to the man’s plethora of awards, including his life long outreach to Jewish organizations:

Walt was also a frequent contributor to Jewish charities, including the Yeshiva College and the Jewish Home for the Aged. Also, Walt Disney was made Man of the Year by the Beverly Hills Lodge of B’nai B’rith—the oldest continually-operating Jewish service organization, which fights anti-Semitism all over the world—and was also awarded a recognition from Hadassah, a Jewish women’s organization that empowers youth in Israel and America. These awards can be seen in the Lobby of The Walt Disney Museum.

— Source: In Defense of Walt Disney

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“There is no magic in magic, it’s all in the details.”

— Walter Elias Disney (33°)

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The first feature film released by Walt Disney was Snow White, on December 21st, 1937. December 21st is the Winter Solstice, a date of great significance to pagan religions and the Mystery cults. Given Disney’s Masonic heritage, the story of Snow White’s apparent death and resurrection should be viewed as an allegory for Hiram Abif: the mythical first Grand Master of Masonry. The story of Hiram’s death and resurrection is dramatized in the Third Degree, or Master Mason, initiation ceremony. In the symbols of the Mystery Schools, The Seven Dwarves are a representation for the Seven Sages, or the Apkallu. Given the coded symbolism throughout Disney’s catalogue, Walt’s first feature film is clearly an elaborate allegory for initiation into the higher Mysteries of Masonry.

— Note the twin candles, representative of the twin pillars of Masonry. Still from Snow White (1937).

— Note the owl faces in the staircase, one of many hidden symbols within Disney cartoons. Still from Snow White (1937).

The Masonic imagery within Disney’s movies, shows and parks are voluminous. I will just be touching on a truly small sample size of the works of this company, but the repeated invocations of these themes and symbols can be seen throughout the Disney catalogue:

— Alice in Wonderland is replete with Masonic imagery and symbolism. Note the checkered floor. Still from Alice in Wonderland.

— Scrooge McDuck, a fabulously wealthy banker, is repeatedly displayed throughout Disney’s history with Masonic poses and symbols. Note the poster in image #3 “Ask About Illuminati!”

— Still from The Little Mermaid. The original version on the left clearly shows the priest with an erection which is removed in later versions (see right).

The abusive and dysfunctional childhood of Disney is borne out repeatedly in his films. The family structures of classic “children’s” films such as Snow White, Dumbo, The Little Mermaid, Bambi, and Cinderella are a fractured and dysfunctional tapestry. In the seminal Disney films there is nary a healthy or whole family to be seen, and the few that do appear, such as the Lion King, are quickly sundered by a violent and traumatic death. See the lists below for more examples:

— Source: The Disney Occult Connection

The Masonic imagery and the violent deaths of parental figures in these films are not accidents. They are the imaginings of a tortured man with deep ties to the Mystery cults who rule our world.

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“The mind is the pilot.

We think things before the body does them.”

— Walter Elias Disney (33°)

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The Disney brothers’ Masonic influence can be seen throughout their parks, movies and products to this day. The infamous 33 Club at Disneyland is located on 33 Royal Street on the 33rd Parallel North. The relevance of the number 33 to the mystery cults is a well explored topic, and the triplicate instance of the number here is surely not a coincidence. The membership list of the club is a highly guarded secret; many celebrities and politicians are said to be members. The waiting list is reportedly over 14 years long, with yearly dues clocking in at a cool $100,000 a year. Obvious references to Hiram Abif, the mythical founder of Freemasonry, can also be seen in the parks.

— Note the Masonic symbols and colors throughout the club (the checkered floor, the 8 pointed star, the blue and yellow, the black and white logo.)

Unfortunately an essay on the most iconic children’s franchise in America would not be complete without mentioning the dark underbelly of the Disney company. Disney employees have been repeatedly swept up in child predator stings with alarming regularity (see here, here, here & here for a few examples). Numerous pedophile rings have been discovered within the company, some involving dozens of employees. While it is no surprise that a company catering to children would prove fertile ground for potential predators to infiltrate, Disney has been utterly negligent in tightening up their hiring practices to thwart this pervasive issue. Given their history, perhaps it should not surprise us.

The pervasive and widespread rumors of Disney’s homosexual proclivities must be addressed as well. The Hollywood Babylon series is an infamous expose on the sordid crimes and sex lives of the stars, which the movie Babylon (2022) is loosely based upon. The book was so explosive and incendiary it was banned for years in the US after its initial limited release. In Hollywood Babylon II, its author, gay avant-garde director and Crowleyite Keith Anger, alleges: “Some animators stated that the boss [Walt Disney] seemed to have fallen in love with the boy. There may be some truth in this…”.

The boy referenced above is Bobby Driscoll, one of the first child stars of Disney studios. Later in life Driscoll stated he was “dropped like garbage when I was no longer a cute little kid and I didn't appeal to [Walt] anymore.” He was not even given the courtesy of being notified of his firing, only finding out after he was barred from entering the Disney film lot. Driscoll would exhibit many of the same signs as so many other abused child stars in Hollywood, picking up a heroin habit by 17 and dying of an overdose at 31.

The prolific and pervasive abuse of children within Hollywood is an open secret within the industry. One victim, Ralph Ferguson, testified that Walt paid him $100 on multiple occasions for unspeakable sexual acts. Ferguson also testified that Walt was a frequent customer of LA rentboys, i.e. underage prostitutes. According to former child star and rape victim Corey Feldman, “the No. 1 problem in Hollywood was and is and always will be pedophilia. That’s the biggest problem for children in this industry … It’s the big secret.” Former child star Elijah Wood said this on the topic of sexual abuse of children within the industry: “There is darkness in the underbelly — if you can imagine it, it’s probably happened”.

While many of the named stars in Anger’s books have vehemently denied the stories, the controversial author has never lost a defamation case brought against him.

— Bobby Driscoll and Walt Disney on the set of Peter Pan.

The most prolific child abuser and sex trafficker in American history, Jeffrey Epstein, also makes an appearance in this dark drama. Court documents from Virginia Roberts-Giuffre’s civil case against Epstein and his associates were unsealed several years ago. In it she named her abusers, including such high profile figures as Prince Andrew, Alan Dershowitz and former Disney chairman and Democrat Senator George Mitchell. In addition, Disney cruises in the Caribbean offered a snorkeling excursion to the infamous Little Saint James Island, well after Jeffrey’s conviction for child sex trafficking. Yes, the same island where Jeffrey Epstein’s Satanic Temple resides, often referred to as Lolita Island. During 2000 to 2014, over 200 passengers went missing on Disney cruises, including children, most of whom were never found.

— A Disney cruise excursion to Jeffrey Epstein’s Pedophile Island.

The true history of The Walt Disney company lies in stark contrast to the mythologized fable we have been sold. Its founders, the brothers Walter and Roy, were both initiates of the Mystery religion. They had close ties to the CIA and FBI, a relationship that has persisted for nearly a century. Disney innovations and technology have played keys roles in both the War on Terror as well as the implementation of “smart” surveillance cities across Florida.

Disney movies, shows and stories are layered with occult symbology and allegories. During a child’s most formative years they are being unwittingly bathed in these occult images and stories. The subversive messaging and themes of Disney’s films, best exemplified in the record breaking song “Let It Go” from Frozen, has inculcated generations of American children in the occult mindset of luciferian liberty:

It's time to see what I can do.
To test the limits and break through.
No right, no wrong, no rules for me.
I'm free.

The Disney brothers are one of the primary culprits for the moral decay of the American people. Their movies and shows have become increasingly perverse and sexualized, with homosexual characters and “relationships” now becoming a staple of their recent films. Many on the Right-wing of the political spectrum have finally awoken to Disney’s perverse agenda to brainwash our children.

Their mistake is thinking that this agenda is a recent phenomena; in actuality, it started a century ago.

When it comes to the practitioners of the Mystery religion, it’s a small world after all.

— Masonic Muscle, digital art, 2024.

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“Think beyond your lifetime if you want to accomplish something truly worthwhile.”

— Walter Elias Disney (33°)

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Further Research

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The Disney Masonic Connection by The Masonic Roundtable

Bloodlines of the Illuminati Vol.3 by Fritz Springmeier

Disney's Grand Tour: Walt and Roy's European Vacation, Summer 1935 by Didier Ghez

Building A Company: Roy O. Disney and the Creation of an Entertainment Empire by Bob Thomas

Walt Disney: Hollywood’s Dark Prince by Marc Eliot

Disney, Pixar, and the Hidden Messages of Children’s Films by M. Keith Booker

From Walt to Woodstock: How Disney Created the Counterculture by Douglas Brode

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