In the context of a screen-immersed civilization, it is difficult to overstate the impact of “predictive programming.” One could easily argue that the primary function of the screen is exactly that … after all, isn’t advertising expressly defined as predictive programming? The very existence of an advertisement, by default, is an admission by the creators that they are “predicting” the ad will successfully “program” you to seek out the product, whether consciously or subconsciously. Of course, as with just about everything, there is a hierarchy involved; the type of predictive programming inherent at the baseline function of an advertisement exists toward the bottom tier of this hierarchy (literal, clear intentions i.e. sell the product), whereas predictive programming as it relates to a massive ritualistic magic trick like the 9/11 “attacks” on the World Trade Center would land much higher on the scale (subversive, intentionally illusory i.e. plant the seed of some future event or cultural trend deep within the subconscious mind). Existing at the top of the predictive programming hierarchy would be more of a cumulative abstraction, an overarching end goal of multi-generational social engineering; countless separate but interconnected components designed to lead the vast majority to a shared perception of reality.
The truly fascinating aspect to all of this is that a piece of media can exist at multiple points along this hierarchic ladder at the same time, meaning an advertisement can potentially be literal predictive programming (selling you a product) while simultaneously presenting subversive predictive programming hinting at a future event or desired social trend; the same ad could also be at the highest level of the ladder because it feeds into the multi-generational goal of engineering a specific state of mind in the masses. It is for this reason that a great many people, when presented with the concept of subversive predictive programming, are quick to dismiss it and move on. The notion that a comedic advertisement selling us soft drinks or a children’s animated film could also be encoded with details about a future world shaping event is one of those concepts that draws a definite line in the sand: if you cross that line and accept the possibility, this media saturated world of ours becomes a very different landscape.
In this post, I will endeavor to deconstruct one of the most blatant examples of subversive predictive programming I have experienced in recent years. It involves what many have concluded—ranging from decades-long professionals to observant laymen—are highly unnatural fires that have occurred in recent years. I am most familiar with those fires that have devastated parts of California as those hit fairly close to home (Tubbs fire in 2017 and Carr fire in 2018), though there is ample evidence to suggest similar anomalous fires have been occurring across the world.
NOTE: the purpose of this post is not to outline WHY/HOW the Tubbs and Carr fires are anomalous. There is a tremendous amount of information available online to that end. If you are not familiar with the myriad of strange aspects surrounding these fires, you may want to research the topic before continuing to the predictive programming breakdown below.
Decoding the Mountain Dew Kickstart Commercial (released 2015)
Several months ago, when it first struck me that Mountain Dew’s slogan “Do the DEW” was suspect in the context of all the chatter regarding D.E.W. (Directed Energy Weapons) … I watched dozens of the company’s commercials. Many of them are worthy of being decoded, but one in particular for an energy drink called ‘Kickstart’ stood head and shoulders above the rest. This is because it subversively presents a quite detailed story about anomalous fires and the impact they will have on society. There is an aspect to another recent PepsiCo superbowl commercial for Doritos and Mountain Dew called ‘A Song of Fire and Ice’ that is worth presenting because it gives us a hint about how D.E.W. fires may actually work when it comes to the destruction of homes.
The animated GIF above is quite telling. If you aren’t really paying attention, your brain will perceive that the icy breath from Freeman (representing the D.E.W. with Mnt Dew Ice) is simply blowing out the flame on the shoulder of Dinklage (representing fire with Doritos Blaze), who then proceeds to reignite the flame. Take another look. Upon closer inspection, the VISIBLE icy breath from Freeman does not actually put out the initial fire on Dinklage’s shoulder; the fire blinks out well before the visible “ice” reaches it, working as a visual misdirection. This is followed by Dinklage doing his “what’s up?” gesture that implies he is CONVERTING the incoming blast from the “DEW” into a new “Blaze” on his shoulder. It is all about picking up on the very intentional timing of the visual cues. The trick is following the visible icy breath all the way along its path, even after it vanishes, and realizing where it would be when Dinklage “uses” it to start a new fire. Mr. D.E.W (Freeman) even offers a delightful little chuckle at the trick being pulled off.
My contention, when it comes to D.E.W., is that these weapons cannot technically start fires on their own but work in conjunction with another technological component. In essence, the D.E.W. provides the spark, the required energy, while a secondary and seemingly unrelated device converts that energy into an especially destructive blaze capable of reducing an entire home, including all contents and its foundation, to white ash. In that context, the animated GIF above is revealing something crucial and I will speak more to that after the full breakdown of this commercial. (Incidentally, Doritos is an anagram for “Do Riots” which means the product Doritos Blaze becomes “Blaze Do Riots.”)
I recommend watching the full length commercial/video before delving into the breakdown. In the context of subversive predictive programming, see how many items you can pick out that may relate to fire and the use of directed energy weapons:
FULL LENGTH VIDEO – 2015 Mountain Dew Kickstart Commercial
The scene opens on some friends cracking a few Mountain Dew Kickstart energy drinks. Right out of the gate we are presented with several clear connections to D.E.W. (Directed Energy Weapons). First and foremost is the brand name Mountain Dew itself, which has leveraged the slogan DO THE DEW for many years. Mountain Dew, as a brand, has tirelessly associated itself with frantic energy, appealing to those with a sense of adventure and a strong desire to confront danger. The specific product name ‘Kickstart’ (Firestarter anyone?) can easily be associated with [kick]starting a fire and it is, of course, an “energy” drink. So we have “DEW” “Kickstart” and “Energy” … quite an auspicious three seconds.
Directly after consuming some of the beverage, with looks of confused horror on their faces, the three individuals begin to move/dance. This is oddly presented as possession of some kind … as though the pure energy of the drink has taken control of their physical bodies and is forcing them to wildly contort. It is clear from the expressions presented that none of them are “enjoying” this experience (which, in the context of selling a product solely created for enjoyment, doesn’t make much sense); it is literally out of their control. They are reduced to spectators the moment the “DEW” is unleashed.
Note on Music: The music itself, at the 15 second mark of the commercial, incorporates an element that is very reminiscent of a siren sound. This is another aspect that queues us in to the subversive theme of “fire” and “emergency.” The siren sound drops in at several points throughout the video. Interestingly, the song is titled “Bus Ride” by the recording artist Kid Cudi (born in 1984, the year the film ‘Firestarter’ was released … a fun tidbit about that movie can be found at the end of this post). Many have speculated that D.E.W. created anomalous fires are connected to the Agenda 21 United Nations program that seeks to get people out of their cars and living in high density housing environments in which public transit would be the only option. Viewed from this context, the song title “Bus Ride” fits the narrative perfectly.
Next we have a depiction of a student spontaneously dropping their backpack (symbolizing education … perhaps hinting at a disruption in the operation of schools) and, like the initial three, despite the fact that he has not directly consumed the “DEW” Kickstart, begins to similarly dance beyond his control. His eyes are opened extremely wide in a state of perpetual shock at what is taking place.
We are shown a variation on the typical yellow pedestrian warning sign. The sign depicts animated stick figures in a universally recognized “fu*%ing” motion. Also of note, their briefcases have been dropped down to the bottom of the sign. The briefcase is another universal symbol used to depict BUSINESS. My interpretation of this is that the fires will greatly disrupt/impact the businesses and economy of the region (as in, business will be FU*%ED). A small minority will greatly benefit by the chaos caused by highly destructive fires (construction companies directly, of course, but others via exploitation and price gouging), while many businesses will suffer losses and even total shutdown.
This is followed by a couple who also begin to dance uncontrollably despite never drinking the Kickstart directly, dropping their stuffed bags of groceries in the process. In particular, agriculture in California produces a monumental amount of food (represented by the stuffed grocery bags), so the meaning here seems rather apparent: fires are going to cause a major disruption in the food supply.
It must be noted here that the “energy” from the Kickstart DEW drink is spreading person to person. Even though individuals are not partaking of the drink themselves, the “out of control” energy is rapidly spreading to them anyway. This is a metaphor depicting the characteristic of fire quickly spreading from the initial ignition point. The metaphor really can’t be made much more clearly: this commercial’s underlying theme is fire.
Oh, right, except it can be made clearer … because we are literally shown fire dancing in this little production.
This image is loaded. First and foremost, we have the cartoonish depiction of fire in the form of everybody’s favorite wind-motivated attention grabber, used to advertise businesses across America. This component could have been any color so, while not conclusive, it is certainly dubious that the color most commonly associated with fire (red) was chosen. Mountain Dew as a product is most often associated with the color green, so that would have made more sense from an advertorial standpoint. You’ll notice that the symbolic flame is gyrating right next to a tree that is unaffected by it, a trait typical to these fires in which entire homes (foundation and all) will be rendered to white ash while nearby vegetation is essentially unscathed. Also in this image, we are shown a person wearing a yellow construction hat. Other than the hat, there is really no indication that this individual is a construction worker and there is nothing actually being constructed; in other words, there is no reason for this joker to be sporting a construction hat. He also happens to be directly beneath a “Grand Opening” sign. This, in my mind, is a reference to Agenda 21 and the push to move people out of their single family homes and into “stack ‘em and pack ‘em” high density housing. To begin with, the entire scene chosen for this commercial is a dense apartment-complex-type living situation. The man in the construction hat symbolizes the construction that will take place AFTER the fires have forced people out of their homes. Desperate for housing, families are going to move in to whatever becomes available first, and this will no doubt be, in many cases, high density housing.
The U.S. Postal Service is going to “get down” too.
Oooops, there goes your mail. Sorry for the inconvenience.
For fans of numerology, at exactly 33 seconds into this commercial, the doors get violently broken down. Take from that what you will … but notice the bicycle in the hallway behind the busted doors; say goodbye to your cars. You’re going to be riding a bike (or walking, or taking the bus, etc.) in the near future. It’s all part of the plan. As Heath Ledger’s Joker tells Harvey Dent:
“You know what I noticed? Nobody panics when things go according to plan. Even when the plan is horrifying.”
—Joker in The Dark Knight
What’s this? The fire is hanging on for dear life? This represents the tornado level winds that have been reported at these fires, despite highly suspicious and inconsistent statistics regarding actual winds at the time. The fact is, there WERE extreme winds, but it was isolated directly within the individual fire events. We will touch on this again later.
The commercial even provides us with a token firefighter, a figure they’ve gone out of their way to present as utterly ridiculous. He’s wearing the most absurd expression (“Hi, I’m an absolute douchebag.”) and is shooting water from a hose without even looking at his target. This is informing us that firefighters will be more or less helpless against these events. There will be hundreds if not thousands of them on hand, but mostly for show, especially when it comes to actual structural fires. These blazes are going to perform their home-destroying task and there is nothing any firefighter can do to combat them beyond striking a pose for the camera (and getting paid, of course).
Hey, “it all starts with a kick” right?
This is worth noting: toward the end of the commercial the U.S. Postal Service literally falls on its ass. Hmmmm.
Also, as the commercial winds down, we are shown an elderly woman standing next to her motorized scooter which is going round and round in a circle. Quite literally, seniors are going to be displaced from their homes and given the “runaround.” In the aftermath of the Tubbs fire, residents from a senior mobile home park have been outright prevented from rebuilding their homes. These people are homeless and being charged monthly rental fees for mobile home spaces they are not allowed to rebuild on. The commercial, quite blatantly, symbolically depicts this runaround tactic with the motorized scooter going in circles, forcing the elderly woman to abandon it. Inevitably, the land that once was used for independently owned mobile homes will be reconstructed as much more profitable high density housing. So much for respecting our elders …
As expected, the commercial saves the best for last.
In this scene we are shown a manhole steam cone. These are used to funnel steam from street manhole covers up high enough to avoid it creating problems at street level, such as obscuring the view of drivers and pedestrians. Having never had firsthand experience with these, it instantly caught my eye. After some research I was stunned to discover that the visual presentation of this manhole steam cone in the commercial is completely inaccurate when compared to the real thing.
Above is a photo taken of an actual steam cone in action. This is what they look like in reality, without exception. The orange and white stripes are wide and go STRAIGHT across, parallel to each other; the cone consists of several separate stripes that are disconnected from one another.
It is even possible to purchase and/or rent fully functioning replicas of a manhole steam cone for, say, a New York City themed dance party or, I don’t know, a COMMERCIAL. These are realistically recreated versions of the real thing, and why wouldn’t they be?
Let’s return to the scene: Isn’t it the purpose of a prop in a scene depicting an urban street to help establish the illusion? In other words, for the scene to work, the goal is to suspend the viewer’s disbelief well enough that they accept the setting being presented as “authentic,” i.e. this is a typical urban street. So why has the director gone to the trouble of CHANGING the visual presentation of a real manhole steam cone? Clearly, from an economic, budgetary standpoint, wouldn’t it be less costly to simply make use of an existing steam cone for your production? Creating something from scratch takes planning, money, additional effort, and it most certainly indicates that intellectual intention is a motivating factor. The question then becomes, why is this commercial showing us a specialized, visually inaccurate interpretation of a manhole steam cone?
The fictional steam cone in the commercial features a continuous orange stripe that spirals from top to bottom. This conceptually creates the idea of a VORTEX. Combine this with the fact that the shot pans in such a way as to bring the dancing fire component (conveniently moved from its prior position … this fire gets around) right alongside this vortex-inspired version of the steam cone. For good measure, the lone fireman is also present, directly behind the steam cone (shooting the water from his hose away from the blaze, of course). So we have dancing fire, an inaccurate depiction of a steam cone made to conceptualize a vortex-like movement, and a fireman … all lined up nicely as the camera pans across the closing moments of the commercial. This pushes beyond the realm of plausible deniability in my opinion, when taken alongside the other clues outlined above regarding this ad’s subversive message.
The depiction of a vortex on the steam cone makes a lot of sense when you consider the occurrence of massive “firenadoes,” which were extremely prevalent during the Carr fire (Redding, CA). Also, as you recall, there are several frames in the commercial which depict the dancing fire component clinging to a street sign for dear life; in conjunction with the vortex/firenado symbolism of the steam cone it becomes clear what is being conveyed. These anomalous fire events will always feature twisting, tornado-like winds that are present only directly in and above the actual blazes, regardless of the wind/weather conditions of the region at the time.
Of course, never missing an opportunity to push an agenda, the mainstream media is quick to (at least partially) blame the destructive anomalies of these fires on climate change. This is a highly effective tactic as it connects observably disastrous real-world events to the growing psychological distress created by the climate change narrative. It also diverts attention and inquiry away from the probable true cause of the fires and their unusual behavior.
I wanted to bring things full circle back to this initial animated GIF. As stated previously, it is my contention that D.E.W., as it relates to burning homes/structures to the ground, cannot function independently and requires another, separate piece of technology to achieve that end. While this is speculative, there is strong reason to believe that the widespread installation of SMART METERS is directly linked to the anomalous fires now being experienced. It is not surprising that California was host to the Tubbs fire of 2017, the aftermath of which is responsible for the surge of D.E.W. related conversation on platforms like YouTube. California, from the outset in the United States, has lead the charge in terms of smart meter installations:
There are three key elements of interest, the first of which is a question: why now? Why have anomalous fires suddenly popped up in the United States? It does seem worth noting that the anomalous fires in California occurred AFTER the ambitious smart meter installation program by PG&E (Pacific Gas & Electric) was well underway. It is especially worth noting that many reports have been made in recent years claiming that individual house fires were caused by smart meters; while those cases are most likely unrelated to the use of D.E.W. technology, it brings me to the heart of the argument: smart meters create an exploitable safety hazard as it relates to the electrical wiring in every modern structure.
The analog meters—which have been and continue to rapidly be replaced by smart meters—have surge protection functionality built directly into their design. To the best of my knowledge, the new smart meters do NOT include any kind of surge protection. To make use of computer hacker terminology, this is the equivalent of building a “back door” directly into the system that will allow access to those who know how to take advantage of it. In terms of the animated GIF above, I would suggest that it is symbolically depicting the following process: 1. The D.E.W. provides the super-charged, electromagnetic energy and 2. The smart meter serves as the “back door” to the home/structure, a gateway (due to a lack of surge protection) that allows that tremendous energy to enter the wiring system and essentially ignite large sections of the home instantaneously. It must also be stated that smart meters serve as an ideal targeting system as they, by default of their primary function of transmitting a specific addresses’ electricity usage, are digital GPS devices that are pinging constantly.
These fires burn with intense heat, beyond that of a standard house fire (1,100 degrees Fahrenheit), as evidenced by the complete lack of items that often remain in the aftermath of typical house fires, such as steel filing cabinets, stainless steel appliances, and anything made of porcelain. Mullite, a major component of porcelain, does not melt until heat exceeds 3,300 degrees Fahrenheit! In the aftermath of these anomalous fires, there is often, quite literally, nothing left beyond white ash … the white ash itself becoming evidence of the extreme heats produced because it denotes total combustion.
I’ll Huff and I’ll Puff …
This is a side note observation I’ve made: if one looks through photos of the aftermath of anomalous fires, you undoubtedly come across scenes where anything made of traditional brick is left unscathed, almost as though nothing has happened. Brick can withstand heat up to 4,000 degrees Fahrenheit, far more than even porcelain is able to contend with. This gives us a reasonable range within which to estimate the extreme heat being produced in anomalous fires: somewhere between 3,400 – 3,900 degrees Fahrenheit. The brick components left standing made me instantly think of the ‘Three Little Pigs’ fairytale in which the big bad wolf easily takes out the homes made of straw and sticks, but cannot bring down the house made of bricks.
Who’s A Firestarter? Twisted Firestarter?
Also, just for fun: while working on this post and collecting resources, I couldn’t help thinking of a film I had seen many years ago, possibly as a teenager. The movie is ‘Firestarter’ and stars Drew Barrymore, in which she plays a character capable of mentally generating and controlling fire. It was her third film role and came out in 1984. In the animated GIF above, notice the localized wind that surrounds her when the “energy” rises, reminiscent of our vortex/firenado components from the commercial breakdown above. I also find it strange that, with the “r” removed from her first name, you are left with DEW and, phonically, “Barry” sounds exactly like “Burry.” So Drew Barrymore could be depicted as “DEW® Burry More.”