Henry Kissinger: The world must forge a new order or retreat to chaos

Not since JFK has there been such a reservoir of expectations

Tuesday, 20 January 2009

As the new US administration prepares to take office amid grave financial and international crises, it may seem counterintuitive to argue that the very unsettled nature of the international system generates a unique opportunity for creative diplomacy.
That opportunity involves a seeming contradiction. On one level, the financial collapse represents a major blow to the standing of the United States. While American political judgments have often proved controversial, the American prescription for a world financial order has generally been unchallenged. Now disillusionment with the United States' management of it is widespread.
At the same time, the magnitude of the debacle makes it impossible for the rest of the world to shelter any longer behind American predominance or American failings. Every country will have to reassess its own contribution to the prevailing crisis. Each will seek to make itself independent, to the greatest possible degree, of the conditions that produced the collapse; at the same time, each will be obliged to face the reality that its dilemmas can be mastered only by common action.
Even the most affluent countries will confront shrinking resources. Each will have to redefine its national priorities. An international order will emerge if a system of compatible priorities comes into being. It will fragment disastrously if the various priorities cannot be reconciled.
The nadir of the international financial system coincides with simultaneous political crises around the globe. Never have so many transformations occurred at the same time in so many different parts of the world and been made accessible via instantaneous communication. The alternative to a new international order is chaos.
The financial and political crises are, in fact, closely related partly because, during the period of economic exuberance, a gap had opened up between the economic and the political organisation of the world. The economic world has been globalised. Its institutions have a global reach and have operated by maxims that assumed a self-regulating global market. The financial collapse exposed the mirage. It made evident the absence of global institutions to cushion the shock and to reverse the trend. Inevitably, when the affected publics turned to their political institutions, these were driven principally by domestic politics, not considerations of world order. Every major country has attempted to solve its immediate problems essentially on its own and to defer common action to a later, less crisis-driven point.
So-called rescue packages have emerged on a piecemeal national basis, generally by substituting seemingly unlimited governmental credit for the domestic credit that produced the debacle in the first place, so far without achieving more than stemming incipient panic. International order will not come about either in the political or economic field until there emerge general rules toward which countries can orient themselves.
In the end, the political and economic systems can be harmonised in only one of two ways: by creating an international political regulatory system with the same reach as that of the economic world; or by shrinking the economic units to a size manageable by existing political structures, which is likely to lead to a new mercantilism, perhaps of regional units. A new Bretton Woods kind of global agreement is by far the preferable outcome.
America's role in this enterprise will be decisive. Paradoxically, American influence will be great in proportion to the modesty in our conduct; we need to modify the righteousness that has characterised too many American attitudes, especially since the collapse of the Soviet Union. That event and the subsequent period of nearly uninterrupted global growth induced too many to equate world order with the acceptance of American designs, including our domestic preferences. The result was a certain inherent unilateralism – the standard complaint of European critics – or else an insistent kind of consultation by which nations were invited to prove their fitness to enter the international system by conforming to American prescriptions.
Not since the inauguration of president John F Kennedy half a century ago has a new administration come into office with such a reservoir of expectations. It is unprecedented that all the principal actors on the world stage are avowing their desire to undertake the transformations imposed on them by the world crisis in collaboration with the United States.
The extraordinary impact of the President-elect on the imagination of humanity is an important element in shaping a new world order. But it defines an opportunity, not a policy. The ultimate challenge is to shape the common concern of most countries and all major ones regarding the economic crisis, together with a common fear of jihadist terrorism, into a strategy reinforced by the realisation that the new issues like proliferation, energy and climate change permit no national or regional solution.
The new administration could make no worse mistake than to rest on its initial popularity. The role of China in a new world order is crucial. A relationship that started on both sides as essentially a strategic design to constrain a common adversary has evolved over the decades into a pillar of the international system. China made possible the American consumption splurge by buying American debt; America helped the modernisation of the Chinese economy by opening its markets to Chinese goods.
Each side of the Pacific needs the cooperation of the other in addressing the consequences of the financial crisis. Now that the global financial collapse has devastated Chinese export markets, China is emphasising infrastructure development and domestic consumption. It will not be easy to shift gears rapidly, and the Chinese growth rate may fall temporarily below the 7.5 per cent that Chinese experts define as the line that challenges political stability.
What kind of global economic order arises will depend importantly on how China and America deal with each other over the next few years. A frustrated China may take another look at an exclusive regional Asian structure, for which the nucleus already exists in the ASEAN-plus-three concept. At the same time, if protectionism grows in America or if China comes to be seen as a long-term adversary, a self-fulfilling prophecy may blight the prospects of global order. Such a return to mercantilism and 19th-century diplomacy would divide the world into competing regional units with dangerous long-term consequences.
The Sino-American relationship needs to be taken to a new level. This generation of leaders has the opportunity to shape relations into a design for a common destiny, much as was done with trans-Atlantic relations in the postwar period – except that the challenges now are more political and economic than military.
The complexity of the emerging world requires from America a more historical approach than the insistence that every problem has a final solution expressible in programmes with specific time limits not infrequently geared to our political process. We must learn to operate within the attainable and be prepared to pursue ultimate ends by the accumulation of nuance. An international order can be permanent only if its participants have a share not only in building but also in securing it. In this manner, America and its potential partners have a unique opportunity to transform a moment of crisis into a vision of hope.
The author was National Security Adviser, 1969-75 and US Secretary of State, 1973-77.

Lights, Camera… Covert Action: The Deep Politics of Hollywood

by Matthew Alford and Robbie Graham

Global Research, January 21, 2009

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Here we build a prima facae case supporting the idea that Hollywood continues to be a target for infiltration and subversion by a variety of state agencies, in particular the CIA. Academic debates on cinematic propaganda are almost entirely retrospective, and whilst a number of commentators have drawn attention to Hollywood’s longstanding and open relationship with the Pentagon, little of substance has been written about the more clandestine influences working through Hollywood in the post-9/11 world. As such, our work delves into the field of what Peter Dale Scott calls "deep politics"; namely, activities which cannot currently be fully understood due to the covert influence of shadowy power players. The Latest Picture A variety of state agencies have liaison offices in Hollywood today, from the FBI, to NASA and the Secret Service. Few of these agencies, though, have much to offer in exchange for favourable storylines, and so their influence in Hollywood is minimal. The major exception here is the Department of Defense, which has an ‘open’ but barely publicized relationship with Tinsel Town, whereby, in exchange for advice, men and invaluable equipment, such as aircraft carriers and helicopters, the Pentagon routinely demands flattering script alterations. Examples of this policy include changing the true identity of a heroic military character in Black Hawk Down (2001) due to his real-life status as a child rapist; the removal of a joke about "losing Vietnam" from the James Bond film Tomorrow Never Dies (1997), and cutting images of Marines taking gold teeth from dead Japanese soldiers in Windtalkers (2002). Instances such as these are innumerable, and the Pentagon has granted its coveted "full cooperation" to a long list of contemporary pictures including Top Gun (1986), True Lies (1994), Executive Decision (1996), Air Force One (1997), The Sum of All Fears (2002), Transformers (2007), Iron Man (2008), as well as TV series such as JAG (1995-2005). Such government activity, whilst morally dubious and barely advertised, has at least occurred within the public domain. This much cannot be said of the CIA’s dealings with Hollywood, which, until recently, went largely unacknowledged by the Agency. In 1996, the CIA announced with little fanfare the dry remit of its newly established Media Liaison Office, headed by veteran operative Chase Brandon. As part of its new stance, the CIA would now openly collaborate on Hollywood productions, supposedly in a strictly ‘advisory’ capacity. The Agency’s decision to work publicly with Hollywood was preceded by the 1991 "Task Force Report on Greater CIA Openness," compiled by CIA Director Robert Gates’ newly appointed ‘Openness Task Force,’ which secretly debated –ironically– whether the Agency should be less secretive. The report acknowledges that the CIA "now has relationships with reporters from every major wire service, newspaper, news weekly, and television network in the nation," and the authors of the report note that this helped them "turn some ‘intelligence failure’ stories into ‘intelligence success’ stories, and has contributed to the accuracy of countless others." It goes on to reveal that the CIA has in the past "persuaded reporters to postpone, change, hold, or even scrap stories that could have adversely affected national security interests…" These admissions add weight to several reports and Congressional hearings from the 1970s which indicated that the CIA once maintained a deep-rooted and covert presence in national and international media, informally dubbed "Operation Mockingbird." In its 1991 report, the CIA acknowledged that it had, in fact, "reviewed some film scripts about the Agency, documentary and fictional, at the request of filmmakers seeking guidance on accuracy and authenticity." But the report is at pains to state that, although the CIA has "facilitated the filming of a few scenes on Agency premises," it does "not seek to play a role in filmmaking ventures." But it seems highly implausible that the CIA, whilst maintaining a decades-long presence in media and academia, would have shown no interest in the hugely influential Cinema industry. Indeed, it should come as no surprise that the CIA has been involved in a number of recent blockbusters and TV series. The 2001 CBS TV series, The Agency, executive produced by Wolfgang Petersen (Das Boot, Air Force One) was actually co-written by ex-CIA agent and Marine Bazzel Baz, with additional ex-CIA agents working as consultants. The CIA gladly opened its doors to the production, and facilitated both external and internal shots of its Langley headquarters as the camera gazed lovingly at the CIA seal. This arrangement was comparable to the Feds’ efforts on the popular TV series The FBI (1965-74) which was shaped by the Bureau in cooperation with ABC and which thanked J. Edgar Hoover in the credits of each episode. Similarly, The Agency glorified the actions of US spooks as they fought predictable villains including the Russian military, Arab and German terrorists, Columbian drug dealers, and Iraqis. One episode even shows the CIA saving the life of Fidel Castro; ironically, since the CIA in real life had made repeated attempts to assassinate the Cuban President. Promos for the show traded on 9/11, which had occurred just prior to its premiere, with tag lines like "Now, more than ever, we need the CIA." A TV movie, In the Company of Spies (1999) starring Tom Berenger depicted a retired CIA operative returning to duty to save captured Agency officers held by North Korea. The CIA was so enthusiastic about this product that it hosted its presentation, cooperated during production, facilitated filming at Langley, and provided fifty off-duty officers as extras, according to its website. Espionage novelist Tom Clancy has enjoyed an especially close relationship with the CIA. In 1984, Clancy was invited to Langley after writing The Hunt for Red October, which was later turned into the 1990 film. The Agency invited him again when he was working on Patriot Games (1992), and the movie adaptation was, in turn, granted access to Langley facilities. More recently, The Sum of All Fears (2002) depicted the CIA as tracking down terrorists who detonate a nuclear weapon on US soil. For this production, CIA director George Tenet gave the filmmakers a personal tour of the Langley HQ; the film’s star, Ben Affleck also consulted with Agency analysts, and Chase Brandon served as on-set advisor. Media sources indicate that the CIA also worked on the Anthony Hopkins/Chris Rock feature Bad Company (2002) and the Jerry Bruckheimer blockbuster Enemy of the State (2001). However, no details whatsoever about these appear to be in the public domain. Similarly, Spy Game director Tony Scott’s DVD commentary for said film indicates that he visited Langley whilst in pre-production but, according to one report, endorsement appeared to have been withheld after Chase Brandon read the final draft of the script. More details than usual emerged about CIA involvement in the Tom Hanks movie Charlie Wilsons War (2007) and Robert De Niro’s The Good Shepherd (2006) – but not many. Milt Beardon had traveled to the Moscow Film Festival with De Niro and claims the pair then "disappeared and hung out with the mob and KGB crowd for a while. I introduced him to generals and colonels, the old guys I had been locked with for so many years." De Niro later tagged along with Beardon to Pakistan. "We wandered around the North-West Frontier Province," Bearden recalls, "crossed the bridge [to Afghanistan] I built years ago, hung out with a bunch of guys firing off machine guns and drinking tea." Still, The Good Shepherd didn’t fulfill the CIA’s earnest hopes of being the CIA equivalent of Flags of Our Fathers (2006), which the Agency’s official historian says it should have been – all in the interests of what he calls a "culture of truth." Charlie Wilson’s War depicted the United States’ covert efforts to supply arms to Afghanistan to fight the Soviet Union in the 1980s which had the real-life consequence of America’s old ally turned against it in the form of al-Qaeda (as Crile explains in the book of the film). However, Beardon, who was the CIA agent who supplied the weapons, worked as consultant on the film and said prior to its release that it "will put aside the notion that because we did that, we had 9/11." CIA involvement in the film therefore appears to have paid dividends. The real reasons for the CIA adopting an "advisory" role on all of these productions are thrown into sharp relief by a solitary comment from former Associate General Counsel to the CIA, Paul Kelbaugh. In 2007, whilst at a College in Virginia, Kelbaugh delivered a lecture on the CIA’s relationship with Hollywood, at which a local journalist was present. The journalist (who now wishes to remain anonymous) wrote a review of the lecture which related Kelbaugh’s discussion of the 2003 thriller The Recruit, starring Al Pacino. The review noted that, according to Kelbaugh, a CIA agent was on set for the duration of the shoot under the guise of a consultant, but that his real job was to misdirect the filmmakers: "We didn’t want Hollywood getting too close to the truth," the journalist quoted Kelbaugh as saying. Peculiarly, in a strongly-worded email to the authors, Kelbaugh emphatically denied having made the public statement and claimed that he remembered "very specific discussions with senior [CIA] management that no one was ever to misrepresent to affect [film] content – EVER." The journalist considers Kelbaugh’s denial "weird," and told us that "after the story came out, he [Kelbaugh] emailed me and loved it… I think maybe it’s just that because [the lecture] was ‘just in Lynchburg’ he was okay with it – you know, like, no one in Lynchburg is really going to pay much attention to it, I guess. Maybe that’s why he said it, and maybe that’s why he’s denying it now." The journalist stands by the original report, and Kelbaugh has pointedly refused to engage us in further discussion on the matter. Early Screening Clandestine agencies have a long history of interference in the cinema industry. Letters discovered in the Eisenhower Presidential Library from the secret agent Luigi G. Luraschi (identified by British academic John Eldridge), the Paramount executive who worked for the CIA’s Psychological Strategy Board (PSB), reveal just how far the CIA was able to reach into the film industry in the early days of the Cold War, despite its claims that it sought no such influence. For instance, Luraschi reported that he had secured the agreement of several casting directors to subtly plant "well dressed negroes" into films, including "a dignified negro butler" who has lines "indicating he is a free man" in Sangaree (1953) and in a golf club scene in the Dean Martin/Jerry Lewis vehicle The Caddy (1953). Elsewhere, CIA arranged the removal of key scenes from the film Arrowhead (1953), which questioned America’s treatment of Apache Indians, including a sequence where a tribe is forcibly shipped and tagged by the US Army. Such changes were not part of a ham-fisted campaign to instill what we now call "political correctness" in the populace. Rather, they were specifically enacted to hamper the Soviets’ ability to exploit its enemy’s poor record in race relations and served to create a peculiarly anodyne impression of America, which was, at that time, still mired in an era of racial segregation. Other efforts were made. The PSB tried –unsuccessfully– to commission Frank Capra to direct Why We Fight the Cold War and to provide details to filmmakers about conditions in the USSR in the hope that they would use them in their movies. More successfully, in 1950, the CIA –along with other secretive organizations like the Office of Policy Coordination (OPC) and aided by the PSB– bought the rights to and invested in the cartoon of George Orwell’s Animal Farm (1954), which was given an anti-Soviet spin to satisfy its covert investors. Author Daniel Leab has pointed to the fact it took decades for the rumours about CIA involvement in Animal Farm to be properly documented; this, he observes, "Speaks volumes about the ability of a government agency to keep its activities covert." Additionally, the production of the Michael Redgrave feature Nineteen-Eighty Four (1956) was in turn overseen by the American Committee for Cultural Freedom, which was supervised by the CIA. Key points in the movie were altered to demonise the Soviets. The CIA also tampered with the 1958 film version of The Quiet American, provoking the author, Graham Greene, to denounce the film. US Air Force Colonel Edward Lansdale, the CIA operative behind Operation Mongoose (the CIA sabotage and assassination campaign against Cuba) had entered into production correspondence with director Joseph L. Mankiewicz, who accepted his ideas. These included a change to the final scene in which we learn that Redgrave’s anti-hero has been hoodwinked by the Communists into murdering the suspicious American, who turns out not to be a bomb-maker as we had been led to believe, but instead a manufacturer of children’s toys. Behind the Scenes It would be a mistake to regard the CIA as unique in its involvement in Hollywood. The industry is in fact fundamentally open to manipulation by a range of state agencies. In 2000, it emerged that the White House’s drug war officers had spent tens of millions of dollars paying the major US networks to inject anti-drug plots into the scripts of primetime series such as ER, The Practice, Sabrina the Teenage Witch and Chicago Hope. Despite criticism for this blatant propagandizing, the government continued to employ this method of spreading its message on drugs. The White House went to Tinsel Town again the following year when, on November 11, 2001 a meeting was held in Hollywood between President Bush’s then Deputy Chief of Staff, Karl Rove, and representatives of each of the major Hollywood studios to discuss how the film industry might contribute to the ‘War on Terror.’ Jack Valenti, president of the Motion Picture Association of America said with a straight face that, "content was off the table", but Rove had clearly outlined a series of requests. It is hard to gauge the consequences of the meeting, but a Rambo sequel, for instance, was certainly discussed, and duly produced. Similarly, several series with national security themes emerged within a short time of the meeting including She Spies (2002-2004) and Threat Matrix (2003). The meeting was, in fact, just one in a series between Hollywood and the White House from October to December, 2001. On October 17, in response to 9/11, the White House announced the formation of its "Arts and Entertainment Task Force," and by November, Valenti had assumed leadership of Hollywood’s new role in the ‘War on Terror’. As a direct result of meetings, Congress sought advice from Hollywood insiders on how to shape an effective wartime message to America and to the world. In November 2001, John Romano, writer-producer of the popular US TV series Third Watch, advised the House International Relations Committee that the content of Hollywood productions was a key part of shaping foreign perceptions of America. On December 5, 2001, the powerful Academy of Television Arts & Sciences convened its own panel entitled "Hollywood Goes to War?" to discuss what the industry might do in response to 9/11. Representing the government at the meeting were Mark McKinnon, a White House advisor, and the Pentagon’s chief entertainment liaison, Phil Strub. Also in attendance, among others, were Jeff Zucker, President of NBC Entertainment, and Aaron Sorkin, creator and writer of the White House drama The West Wing (1999-2006). Immediately after, Sorkin and his team set about producing a special episode of the show dealing with a massive terrorist threat to America entitled "Isaac and Ishmael". The episode was given top priority and was successfully completed and aired within just ten days of the meeting. The product championed the superiority of American values whilst brimming with rage against the Islamist jihadists. The interlocking of Hollywood and national security apparatuses remains as tight as ever: ex-CIA agent Bob Baer told us, "There’s a symbiosis between the CIA and Hollywood" and revealed that former CIA director George Tenet is currently, "out in Hollywood, talking to studios." Baer’s claims are given weight by the Sun Valley meetings, annual get-togethers in Idaho’s Sun Valley in which several hundred of the biggest names in American media –including every major Hollywood studio executive– convene to discuss collective media strategy for the coming year. Against the idyllic backdrop of expansive golf courses, pine forests and clear fishing lakes, deals are struck, contracts are signed, and the face of the American media is quietly altered. The press has yet to be granted permission to report on these corporate media gatherings and so the exact nature of what is discussed at the events has never been publicly disclosed. It is known, however, that Tenet was keynote speaker at Sun Valley in 2003 (whilst still CIA head) and again in 2005. Conclusions Many would recoil at the thought of modern Hollywood cinema being used as a propagandist tool, but the facts seem to speak for themselves. Do agencies such as the CIA have the power, like the Pentagon, to affect movie content by providing much-sought-after expertise, locations and other benefits? Or are they able to affect script changes through simple persuasion, or even coercion? Do they continue to carry out covert actions in Hollywood as they did so extensively in the 1950s, and, beyond cinema, might covert government influence play some part in the creation of national security messages in TV series such as 24 and Alias (the star of the latter, Jennifer Garner, even made an unpaid recruitment video for the CIA)? The notion that covert agencies aspire to be more open is hard to take seriously when they provide such scant information about their role within the media, even regarding activities from decades past. The spy may have come in from the cold, but he continues to shelter in the shadows of the movie theatre. Matthew Alford (PhD: University of Bath) lectures on Film and Television at the University of Bristol and is currently writing a book about propaganda in Hollywood. Robbie Graham is Associate Lecturer in Media at Stafford College. They can be contacted at: matthewalfordphd@gmail.com and rbbgraham@aol.com respectively. References available on request.

Global Research Articles by Matthew Alford

Global Research Articles by Robbie Graham

Study: Diamonds link comet to mammal extinction

(CNN) -- Tiny diamonds found in the soil are "strong evidence" a comet exploded on or above North America nearly 13,000 years ago, leading to the extinction of dozens of mammal species, according to a study.

Diamonds found in North American soil suggest a comet led to the extinction of dozens of mammal species.

The scientific report also suggests the cataclysm also reduced the population of the earliest people to inhabit the region and triggered a 1,300-year-long cold spell that stretched around the world.
The heat generated by the extraterrestrial impact likely melted much of a glacier that once covered the Great Lakes region, sending a massive flood down the Mississippi River, the study said.
According to the report, the cold waves of glacial runoff into the Gulf of Mexico shifted Atlantic Ocean currents, changing climate patterns throughout the world in a cooling period known as the Younger Dryas.
"A rare swarm" of comets rained over North America about 12,900 years ago, sparking fires that produced choking, leading "to the extinction of a large range of animals, including mammoths, across North America," the report said.
The study was conducted by a group of eight archaeologists and geologists from the universities of Oregon and California, Northern Arizona University, Oklahoma University and DePaul University. Their findings were published Friday in the journal Nature. iReport.com: Have you ever seen a comet? Show us
The prehistoric humans known to have inhabited the continent at the time of the event -- hunters and gatherers dubbed the Clovis culture -- suffered a major decline in population in the aftermath, the scientists said.
The scientists studied layers of sediment dated to 12,900 years ago at six North American locations, including one directly on top of a Clovis site in Murray Springs, Arizona. Each layer was rich in nanodiamonds, which are produced under high-temperature, high-pressure conditions created by cosmic impacts, the report said.
"The nanodiamonds that we found at all six locations exist only in sediments associated with the Younger Dryas Boundary layers, not above it or below it," said University of Oregon archaeologist Douglas Kennett. "These discoveries provide strong evidence for a cosmic impact event at approximately 12,900 years ago that would have had enormous environmental consequences for plants, animals and humans across North America."
The other sites studied were in Bull Creek, Oklahoma; Gainey, Michigan and Topper, South Carolina, as well as Lake Hind, Manitoba; and Chobot, in the Canadian province of Alberta

NIST Report on WTC7 debunked and exposed

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9/11 Truth responds to NIST with HARD FACTS & Evidence!

"Behold, Atlantis Rising!" (UPDATED 11/22)

I am absolutely speechless: "Dubai has thrown a spectacular light show to celebrate a new $1.5bn marine-themed resort built off the Gulf coast on an artificial island in the shape of a palm tree. Organisers claimed that the fireworks display for the $20m party could be seen from space," the BBC says.

Seen from space? For whose benefit? Watch the entire show here, and remind yourself as your brain overheats that Dubai is nominally Islamic. I like the part when the high priestess tells the crowd to watch as Atlantis "illuminates."


For some strange reason, an army of Horus Kings accompany the High Priestess during the ceremony (what the hell do Hawkmen have to do with Atlantis?). Given what we've been looking at the past few weeks we should expect all of this, but I still can't believe my eyes.

Let me remind you all what I wrote just a week ago:

Why is so much money being taken from places like Louisiana and sent to places like Dubai and Qatar? Why are these astonishing metropolises being built in these ancient lands, but not in other oil-producing countries? Are these new science fiction metropolises being prepared for someone?

According to Zechariah Sitchin, the Persian Gulf was of particular interest to Ea, aka Enki. Oannes made his home beneath the waves there. One can almost imagine a lineage- an office, perhaps- established by Ea that included figures like Oannes, Dagon, and Osiris, and later John the Baptist.

UPDATE: The Gulf States move to create single currency, see America as Third World country...


UPDATE II: Masonic landmarks projected onto Atlantis. See article on illuminated obelisks worldwide here.

UPDATE III: All of you Goro/Etemenanki fans are probably thinking "Stargate" when you see this octagon shape from the big Atlantis show (heh, Stargate: Atlantis, get it?) Maybe these folks in Dubai spent 20 million dollars for a half-hour opening ceremony and however many billions of dollars on this resort because they're all really big sci-fi geeks.

UPDATE IV: Speaking of pop cult symbolism, the Mermaid/High Priestess at Atlantis reminds me a combination of Uxia from Stuart Gordon's 2001 Lovecraft adaptation Dagon, and Jack Kirby's "Witch Queen of Ancient Sumeria" (particularly in the headdress). Dagon is another name for Oannes, and "Sumeria" (Sumer, properly) was under the rule of the space-born Annunaki. It's worth noting that both Jack Kirby and H.P. Lovecraft both fixated on the mythos of ancient space gods coming to reclaim Earth as their own...

UPDATE V: Eagle-eyed Joe Linsner pointed out that not only could this ritual be seen from space, it would make no visual sense at all to anyone on the ground. You'd have to be a good height in the sky above to see the island being "illuminated." This picture was taken some distance from the hotel and it looks like nothing but a giant mess of flame and smoke.

The AntiChrist Dajjal will be a Reptilian ShapeShifter p 19

The AntiChrist Dajjal will be a Reptilian ShapeShifter p 19

Watch the entire series.