(Before It's News)
due to the 'random interference patterns' of scheduling clashes and ongoing Hollywood projects running over time, Steven Spielberg's MINORITY REPORT (2002) nearly didn't happen.
But it did, and just in time to commemorate September 11th 2001, that day when all sorts of plane/building physics and intelligence/military safe-guards failed The American People.
|notice the interference patterns
|The film was first optioned in 1992 as a sequel to another Dick adaptation, Total Recall, and started its development in 1997, after a script by John Cohen reached Spielberg and Cruise. Production suffered many delays due to Cruise's Mission: Impossible II and Spielberg's A.I. running over schedule, eventually starting in March 2001.
A delayed attempt to make a Sequel to an earlier Hollywood project? Well, in the context of 9/11 we must be talking about the 1993 truck bomb attack on the building which slightly damaged the underground car parking area. It seems the 'life of these twin events' have been intimately interwoven, by time and fate and Spielberg's film.
JOHN ANDERTON IS PRE-CRIMINAL #1109:
and looking back, with hindsight, isn't it wonderful that 'everyman' or 'regular working stiff' (and son-abducted) John Anderton gets the 11 09 stigma attached to him? We first see this in the film with the introduction of the pre-criminal before him, 11 08. John's 'number is up' on screen during his own investigation of the second murder in the film. We see 09 11 reversed i.e. from the other side of the transparent pre-crime interface onto which 'his obvious guilt is being projected'. We are the criminals looking in on the 'loss of John's innocence' – maybe his accusation was our fault. We saw but we did nothing.
THREE PRE-COGS, ONE MORE IMPORTANT:
in the Minority Report, it's shown that while the two male members of the pre-cog trio are at the centre of the operation, the third (female) member is far more crucial to the success of PRE-CRIME. It's easy to equate this 'female' aspect with the far less vertically prominent Building Seven or Saloman Brother's Building that (having been hit by ZERO commercial airlines) fell into its own footprint in the late afternoon of 9/11. WTC 1 and 2 are the 'associated dummies' of the operation while Building Seven is the real target of 'whatever 9/11 was'.
THE DEATH OF ANNE LIVELY:
again, we're talking about a pre-tested ANNIHILATION OF THE TRUTH, that is then run through a second (more successful) time. Set it up, then knock down the first domino. Then the second, then the 'secret' third i.e. Max Von Sydow's character, the real focus of the story aka Building Seven. But there's a conflict here, because we've assigned building seven to Agatha, so how can we transfer it to Sydow's character? Easy, it's a simple Hollywood special effect. Bait and switch. Now you see me, now you don't. You only need to be TOLD what's important, not work it out for yourself.
THE TERMINALLY-ILL PAID PATSY:
“You don't kill me, my Family gets nothing,” says patsy child-thief Leo Crowe to Cruise's character. A terminally ill character demanding that he is (seen to be) PUBLICLY killed off? Many are the reports of prime 9/11 criminal Osama Bin Laden aka CIA asset Tim Osman being given kidney dialysis in US hospitals abroad. And Bush/Laden family were financially linked through Cheney's Haliburton.
MK ULTRA IMAGERY WORKS:
“Runnnnnnnnnnnnnnnnnnnnnn!” enough said. You're shocked aren't you? So you should be, you're shocked by these wonderfully emotive Spielbergian moments, as the world was shocked by the wonderfully choreographed realtime events of the day of 9/11, “We have to look to Osama Bin Laden,” came the news media mantra on the day. Horror works, hypnotism works, on you and your references to the past. Your prejudices. The pre-criminals aren't always the real criminals, as this film shows us in graphic horror detail.
THE RELIGIOUS WAR:
there is no 'religious war' in this movie, but it is replete (by its own admission) with religious imagery a) The Temple where the three en-slave-ed pre-cogs live b) the genuflecting that Agatha is subjected to c) the ethereal light through which Agatha shines forth her pre-cog proclamations. This hinting at Jihad? This foreshadowing the 'so many of them' being held at secret detention centres like Guantanamo and elsewhere? Gah, it's like it's all there, in front of our faces, all this time.
THE 9/11 COMMISSION REPORT:
just like in Minority Report, the 'real murder' is erased from the record. Only the 'edited highlights' from the 'brothers' are shown whereas the real story i.e. the Building Seven story is quashed, removed, never transmitted. Remember, there's NOTHING about Building Seven in the official version of 9/11. Agatha isn't covered.
THE SEQUEL QUESTION:
maybe you knew, maybe you didn't know, that Minority Report was SOLD AS A SEQUEL to another Hollywood PKD project, namely Total Recall. So, what was Total Recall all about, forgetting the ludicrous Mars/Alien mission? Well, it was about a man finding out about a secret life he'd been programmed to forget about. Until he started looking, for himself. Actually, Total Recall was about being held hostage to pay for 'the air we breathe'. A sequel to such, would that 'really' concern NSA-like surveillance able to deliver 'personal advertisement' direct to your synapses? A world where War of the Worlds-like miniature corporate drones invade your domestic privacy such that 'nothing is sacred any more'? To reinforce the corporate agenda? Was 9/11 all for money, for global PROFIT?