Sunday, December 29, 2013

Morgan Freeman the NUMBERER... [short trailer Italian version]


Above video - "Morgan Freeman the NUMBERER..." - URL: 

Published on Dec 29, 2013
Taken from the Italian version but I think the trailer is the same for every country.
Morgan Freeman chosen to lead the program about the "Origin of Universe" because CUSH was of black skin.
"Scientific" documentary involving math because CUSH was also known as THE NUMBERER.
See the time-travel as RELIGIOUS satanic parody under scientific costume of the pre-Flood/after-Flood age:
"...We in the present (symbol of PRE-Flood age) are wicked and to be destroyed by the coming 'Flood' [= Apocalypse see Revelations st. John the Divine, and judged by the Lord] but from the FUTURE aka from the AFTER-Flood age it comes to rescue us (and to rescue from His judgement upon our wicked evolutionist rebellion against Him) CUSH the NUMBERER, father of NIMROD the DELIVERER".
For further references on the allegory see the powerful work of Alexander Hislop THE TWO BABYLONS [book from Chick publications or various free download pdf] and, of course, over all, the Bible.


  1. Edoardo Roncelli
    6 hours ago

    pls have the courtesy to notice at 00:42 about the MOON but Moon is Meni or Manai and signifies "The Numberer" i.e. alwyas Cush. See end-year festival of Scotland lowlands named "Hog-Manai" which "in Chaldee signifies 'The feast of the Numberer';" (A. Hislop). Focus channel began to broadcast the serial not encrypted signal on 15 december in the last days of the year...

  2. And GOD saw that the wickedness of man was great in the earth, and that every imagination of the thoughts of his heart was only evil continually. [Genesis 6:5, kjv]


    Interstellar (film)
    From Wikipedia, the free encyclopedia
    Interstellar is a 2014 science fiction adventure film directed by Christopher Nolan. Starring Matthew McConaughey, Anne Hathaway, Jessica Chastain, and Michael Caine, the film features a team of space travelers who travel through a wormhole in search of a new habitable planet. It was written by Jonathan Nolan and Christopher Nolan; Christopher combined his idea with a script developed by his brother in 2007 for Paramount Pictures and producer Lynda Obst. He is producing the film with Obst and his wife, Emma Thomas. Theoretical physicist Kip Thorne, whose works inspired the film, acted as both an executive producer and a scientific consultant for the film.
    Scientific accuracy
    Theoretical physicist Kip Thorne was a scientific consultant for the film, to ensure the depictions of wormholes and relativity were as accurate as possible. "For the depictions of the wormholes and the black hole," he said, "we discussed how to go about it, and then I worked out the equations that would enable tracing of light rays as they traveled through a wormhole or around a black hole—so what you see is based on Einstein's general relativity equations."[52]

    In creating the wormhole and a rotating black hole, which opposed to a non-rotating black hole has an ergosphere, Dr. Thorne collaborated with visual effect supervisor Paul Franklin and a team of 30 computer effects artists at Double Negative. Thorne would provide pages of deeply sourced theoretical equations to the artists, who then wrote new CGI rendering software based on these equations to create accurate computer simulations of the gravitational lensing caused by these phenomena. Some individual frames took up to 100 hours to render, and ultimately resulted in 800 terabytes of data. The resulting visual effect provided Dr. Thorne with new insight into the effects of gravitational lensing and accretion disks surrounding black holes, and will lead to the creation of two scientific papers; one for the astrophysics community and one for the computer graphics community.[53]

    Christopher Nolan was initially concerned that a scientifically accurate depiction of a black hole would not be visually comprehensible to an audience and would require the effects team to unrealistically alter its appearance. However Nolan found the finished effect to be understandable provided that he maintained consistent camera perspectives, "What we found was as long as we didn’t change the point of view too much, the camera position, we could get something very understandable".[54]