American Horror Story: Hotel is the most subversive television in years. In a radical departure from previous seasons, HOTEL describes interweaving stories around the wickedly criminal living and the dead, the past and present owners, staff, and patrons of a haunted Hotel Cortez that seems to be stuck in time.

Within the first few episodes, the season leaves the audience confused as to this season's general theme: is it comparing vampires to drug users, or is it about ghosts trapped in hell because they cannot ever change their wicked ways, or is it about secret societies and gnosticism by portraying Lady Gaga as Lilith? Judging by the amazon.com streaming video reviewers, many stopped HOTEL halfway through in frustration and dislike, judging from the content of the reviews, and the fact HOTEL was the lowest user-rated season of the series generally. However, I believe the problem is that the message was either lost on these reviewers due to a failure to read subtext, or like half of this country that still maintains the official conspiracy of 9/11, were bothered by being confronted with uncomfortable truths that are being transmitted metaphorically, through social commentary, within HOTEL.

This essay is going to explore those truths and try to convince you that AHS : HOTEL was much more impressive and important than many of us previously supposed.

I'm going to try to convince you that AHS HOTEL is a clever metaphorical zeitgeist that captures the apathy of the american everyperson in the face of now-known atrocities by the very people who rule us and claim to protect us. HOTEL is about the average US citizen being trapped as patrons within the metaphorical haunted HOTEL of our own demoralized, corrupted culture--demoralized by our unpunished criminal politicians, corporations, and those with whom they associate, whose wickedness continues to affect our lives every day. Furthermore, HOTEL is a metaphor for the corrupt system in which we find ourselves, denigrating our own common courtesy to humanity, pulling us down into wickedness simply by existing within it (ie: perennial war; unwinnable war on terror; unwinnable drug war).

Because of the grim parallels to real life drug gangsterism, political pedophilia, criminal conspiracy and corruption all enabled by secret society connections, this particular season may be the darkest one of them all.

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Drugs, Addiction, Vampires, Parasitism

The theme of addiction is central to AHS: Hotel and this is not easily missed.

Addiction is captured within the first episode with Sarah Paulson's heroin junkie ghost character, Sally, and repeated with the character Donovan. The addiction theme is reiterated throughout the series through the usage of various intoxicants by the Hotel staff and coterie of depraved criminals. In fact, Sally is accompanied by a drilldo demon that represents her addiction--the 'monkey on her back' is an S&M nightmare with an auger as a strapon. Yes, not even kidding.

Similarly, Lady Gaga's character, the Countess is addicted to sex and blood, and she satisfies this addiction by luring young attractive couples to her windowless penthouse suite, doubling as a sacrificial altar, in order to satisfy her cravings. Nearly every character has some kind of addiction. The actor playing Detective Lowe--Wes Bentley--is a recovered real-life heroin addict, so this concept is verly likely, uncomfortably close to the actors in the series.

Similarly, in our own culture, the theme of addiction is not easily missed. Heroin use may be at an all-time high, even invading suburbia, but painkiller abuse greatly eclispses any street narcotics by orders of magnitude. In fact, it's an epidemic right under our noses that no one likes to talk about. One could say addiction is central theme of our daily lives, and that addiction is not limited to drugs. Obesity is at an all-time high, meaning we're addicted to inexpensive calories. Anger is at an all-time high, meaning we're addicted to the (fake, sensational) news. Depression is at an all-time high, meaning we're addicted to the status quo, and given the actual effectiveness of pharmaceuticals, that's unlikely to change.

One could argue that modern-day american anger, depression and demoralization around the issue of addiction stems from the ever-increasing moral pressure of maintaining a deep cognitive dissonance created by two competing ideas: 1) the knowledge that americans are suffering opiod addictions at alarming numbers as of 2015, --verusus-- 2) knowing that our politicians are running both sides of the drug war. I've discussed this hypocritical Janus Face of the Drug-Pushing Military Intelligence Community in an earlier, relevant piece of /r/conspiracy. To recap the cognitive dissonance briefly: Everyone knows we've been in Afghanistan for 15 yrs; that 70-90% of opioids--legal and criminal--come from Afghanistan, and yet we still have people overdosing from heroin and painkillers. Also, this chart summarizes at-a-glance the drug-war, the war-for-more-drugs, and how this ties in with 9/11..

(Sorry if this concept angers you, but before you downvote me for saying so, why don't you fact check my sources (within above link "straight dope on...") and you'll find they are from places like the UN, NIH, the DEA, CDC. It's not my fault I tied it all together for you so please don't shoot the messenger.)

Kidnapping, Human Trafficking, Pedophilia and Mind Control

Detective John Lowe is first drawn to Hotel Cortez by a series of murders by the "Ten Commandments" killer--a serial killer who leaves victims in a carefully crafted death scene, each signifying one ten commandments. During his investigations, it's revealed to the audience that Lowe's marriage is in shambles because of a kidnapping and presumed death of their young boy from a carnival, and his Lowe's wife blames his negligence.

We find out later that the child has been kept, well-preserved, frozen in time as a child-vampire living in the white walled vault of a videogame-and-candy-fueled pedo child-wondertrap and monarch refuge created for him in the basement of Hotel Cortez.

Anyone who reads /r/conspiracy regularly will no-doubt know about MKULTRA, the so-called 'monarch programming' mkultra mind-control of victims to create spies ('manchurian candidates') or sex-robots depending upon best use and aptitude of any given training. It would be very easy to see then the parallel of the kidnapping and conversion of children-to-vampire as a thematic, metaphorical equivalency to MKULTRA monarch training.

The idea of the monarch is underscored by the fact that the child is no longer himself, but a darker version of himself. He's been inculcated into the corrupt underbelly of the system; caught up in a network of human trafficking. It's not enough to capture, you have to convert also. It's not kidnapping, it's also sacrifice. As a vampire, he is now one-of-them, part of that system: converted. He's been changed, molded, mutated, converted into a living representative of the shadowy forces under the surface level.

In truth, just as in fiction, there really are vampires. Real-life vampires don't live forever by drinking blood, they serve in Congress, they work as double agents subverting the FBI/CIA/NSA, but they meet in private frat houses with secret handshakes and secrecy protocols. They form the deeper-than-deep state, the true cryptocracy, the cryptofascist international profiteers that run game on everyone, including but especially our own military intelligence networks. People like Kissinger, Alan and JF Dulleses, Zbignew Bryzinski, The Bushes, The Clintons, The Rothschilds, The Rockefellers, and along the edges, Steven Colbert and Bill Oreilly, and yes nearly everyone on television and in film. Mind controllers; soul-destroyers.

They even want to track our children, in the event that both parents die suddenly in an accident, those unclaimed kids will need a place to which DSS can spirit them away to a shriner hospital connected to a sex dungeon in the french underground, where they will be ensured to receive all the candy and videogames and private cells and comforts to whom any well-behaved monarch ought be entitled.

Gnosticism, Secrecy, Secret Societies, Elitism

In a previous essay I wrote for /r/americanhorrorstory, I discussed an analysis of AHS:HOTEL as a description of the Spectacle (society of the spectacle). I further elaborated the "G"nostic theme here. (Yes I've spent quite an amount of time thinking about and trying to digest HOTEL).

To summarize, Lady Gaga's character, the countess, is the embodiment of Lilith--the female aspect of Lucifer (embodiment / version of Baphomet). Lucifer, or Jabulon, or the Demiurge, or the "G"rand Architect of the Universe, or Baphomet are all loosely synonymous, and are revered as the symbolic completion / union of opposites (coincidencia oppositorum) in Alchemy. Alchemy is the 'craft' of Freemasonry, the marriage of esoteric art and science -- to them, a cryptoscience. Lucifer+Lilith is thus symbolically revered as the force of intelligence and technological evolution, as mental formations of love and death, as a process of being and becoming (ascension / transmutation / perfection), a symbolic representative of the sun and moon in the pagan tradition of nature worship. Symbolic meditation and practical application of these tropes to the daily lives of practitioners is the the gnostic act of worship, captured generally as the process of Alchemy.

The gnostic theme of alchemy is explored in many ways. Most notably by the non-passing transsexual clerk of the Hotel Cortex. Transsexuality is alchemical in a sense of the 'union of opposites': until a TS undergoes gender-reassignment surgery, a TS is in transition from one gender to another and is therefore both genders at any time. This is key to understanding the assertion that transsexuality is third-genderism and gnostic. In the porn industry, many 'shemale' actors opt not to receive gender reassignment surgery, and thereby remain stuck in this state of third-genderhood.

I cannot presume to know if this is a choice or done to remain marketable to a specific fetish cohort, nor do I judge. But it's clear that as TS involved specifically in TV/Film and porn progresses along the spectrum from non-passing to passing, they may become a thing in and of itself, a spectacle unto themselves--an amplified reality of that which they imitate--the overcorrection itself, the RuPaul, the wannabe Diva, the Caitlin Jenner, the obvious TS. The trick that only tricks itself. Have you noticed how much transsexuality is foisted upon us in the media these days? There's a reason for that. They want you to know about Alchemy.

Other examples of this gnosticism include the following:

• The season's eclectic motif of immortality in the vampire Countess (immortality being a goal of alchemy -- google st. germaine)
• The union of the real world with the spirit world within the Hotel Cortez (hermetic philosophy); the hermetic theme of Immanentizing the eschaton -- a marriage heaven and hell embodied in colocating the heaven of the penthouse to the dungeon of the crypts within the Hotel Cortez
• The obvious playing with the theme of light--specifically purple and scarlett (colors of the whore of babylon) -- (see [other analysis of HOTEL] and [here])
• The irreverence to time and/or theme of infinity (cortez trapped in time), it's easy to say that the overall suggestion of AHS:HOTEL is strongly gnostically themed.

If this is confusing to you, I apologize. It's difficult to slam two thousand years of eclectic esoterica into a few sentences. Suffice to say, that if you want to explore this theme, read those essays I wrote previously and they should help explain these things in much greater detail.

What does gnosticism have to with elitism? As suggested above: freemasonry. More to the point: american ruling class and their secret socieites running the world.

In HOTEL, this idea is represented by the cabal running the hotel.

The Countess and her husband--James March, the ghost of the owner and architect of the Hotel Cortez--are immune to scrutiny by government officials in the world outside of the hotel, during decades of murders therein. Sound familiar? Our politicians get away with astounding crimes, corruption and conspiracy. They would seem to have an unfathomable immunity to scrutiny, if one were to disbelieve in the american ruling class and the secret society network connections upon which they rely for this persistence. The Countess and March, and all that enable their behavior metaphorically, represent this secretive cabal that runs the world.

Since Gaga--the Countess and real-life "Diva"--represents the pinnacle of the entertainment-industry's grand spectacle, she represents the ultimate form of a person groomed by the Hollywood elite. Hollywood itself is known to be entwined with secret intrigues such as cia liaisons, propagandists, silent partner financeers. Therefore, Lady Gaga represents the elite both in real life as well as in her character in AHS: she is the poster-child of the illuminati and makes no attempt to hide it.

Now, if you accept my grand thesis here that AHS:HOTEL is a zeitgeist of American demoralization, then--being the illuminati poster-child--Lady Gaga acts as both the muse and the chorus, if the social commentary of HOTEL is a modern-day Greek tragedy inasmuch as it is a pop horror anthology television series. Gaga then would be both the inspiration for this season HOTEL as well as the actor within it, delivering a social commentary that breaks the fourth and fifth walls of show, and in so doing, transmits yet another gnostic theme of "As above, so below". As in spectacle so in reality. As in actor so in the acted. As in the theme so in the practice. Additionally she's both a *description of and a confessor for this overall gnosticism, and so she lays bare the secret society underpinnings to all the woes of our culture elaborated within HOTEL.

It's up to you, however to see this. Hopefully this comparative analysis has helped.

Furthermore, one could argue that "although she's just a pop star", in this television series on-it's-own, Gaga is a kind of genius, a savant for being able to get away with this confession of network gangsterism while participating within it. One could expand on that idea, claiming that AHS is the height of detournement of this theme, exposing it for all to see, in the most impressive culture-jam in decades, for those who can read the signs (or are even trying).

Unless of course, this message is entirely missed. In which case, HOTEL becomes a pointless television romp, and yet another relic of occultic mockery upon the public-as-sleeping-beauty, in a world without a Prince.

In the season finale, we learn that the Hotel Cortez is under threat of being condemned by the city and torn down.

To the perennial criminal denizens of the Cortez, this means an end to their existence, an end to their tyrannical reign, an end to all the conspiracy of murder and kidnapping. James March calls a meeting at the hotel bar to discuss a plan to save the Hotel from destruction and continue their malificence: by legally declaring the Hotel a historical site. We are to assume they accomplish this goal, that the law legitimizes murder, and that Hotel Cortez continues on, a machine that creates chaos and ruin by being supported unknowingly by the outside world, the 'regular society' of blameless, unaware, or lumpen citizens.

This is the ultimate metaphor for system-justification; the tacit supporting of an abuser establishment who directly threatens the morality of the people it governs.

Ten Commandments, Hypocrisy

The title sequence of HOTEL consists of grisly scenes in art deco motifs intermingled with brief flashes of the Ten Commandments in nostalgic, fritzing red neon-sign form. The season describes a lawful Detective Lowe's descent into chaos. Lowe investigates murders, and in a Faustian twist, becomes himself the object of his own investigation. He becomes the Ten Commandments serial killer he's charged to investigate.

Of course, the formative principles that caused Lowe to fall into evil were the following: the kidnapping of his son, the conversion of his wife and son into vampires, the poisoning-intoxication of the Hotel, the seduction into adultery by a junkie, and the horror of bearing witness to the unpunished acts of a criminal elite (the feast of serial killers on "Devil's Night"-- night before Halloween) and being wholly unable to do anything about it (they are ghosts / they are hallucinations).

Taken together, these acts of horror form the framework for satanic ritual abuse, which is a form of mind control to create monarchs. In this case, Detective Lowe is converted into a Manchurian candidate who then carries out James March's Ten Commandments serial killings to completion.

Lowe is therefore a cautionary tale, that we must always guard against our abusers; in my assertion: our own government, as enabled by crytotyrants of the deep state (ie: our government is itself yet another mind-control victim).

We live in a mostly Christian nation, and we all generally know the Christian ten commandments. When Christian morality is juxtaposed with unpunished secret murder streaks, it smacks of Satanism, which received it's acclaim as a media-sensationlized moral panic during the 1980s when 'satanic ritual abuse' stories were at their height.

This was due mostly to 'trash television' pundits such as Geraldo Rivera, who had a history of being wrong all the time (see Al Capone's empty vault reveal, satanic ritual abuse selected only to be discredited, michael jackson pedo corruption that was never provable). In fact, being wrong seemed to be Geraldo's job, until he achieved the ultimate perfection of this craft of wrong, by becoming yet-another-illuminati-talking-head gabblemonger on FOX news, where his primary job would obviously be to justify a wholly corrupt Establishment, to discredit and destroy any distasteful narratives that would dare to question our exalted, blameless Government. Notable example is 9/11 "these demonstrators are into restroom gay sex". What is most interesting is the moral superiority claimed by these gabblemongers, who defend the most criminal enterprise in the history of the World (again, in case you missed it, I'm talking about the post-9/11 US Government).

Of course, the establishment-controlled media would have us believe that all of the 1980s satanic ritual abuse stories are complete fictions: that there's no truth to any of it. It was simply another "story" subsumed by the media itself to sell commercials, to sell sensation and spectacle.

So if it is true that the media completely fabricated all the Satanic Ritual Abuse stories of the 1980s, why then have we been listening to the news ever again, or better yet for 3 more decades? Are we stupid people? Apparently. Or: we know it must be at least half-true and the other half was just 'covered up'.

Consider the following: Why is it the case that Michael Aquino, despite all the press around him in the 1980s is absent from wikipedia? Do you even know who Michael Aquino is? I think its safe to say that you know who has the power to control you by discovering who is afforded total anonymity.

Apathy, Conclusion

For those with the eyes to see it, AHS HOTEL feels out the boundaries of the biggest problems in our society today. But it doesn't necessarily offer a solution, save increasing awareness of the the supposed intractability of these problems. Although american apathy is very high in the face of a downward spiral, both financial and moral; at least with fine television such as AHS, we have food-for-thought in order to contemplate a solution that we may not even acknowledge otherwise.