How Kate and William' Royal Wedding compares with Charles and Diana's big day

By Lauren Paxman


Leaving the church: Princess Diana and the Princess of Wales looked away from each other as they left St Paul's, the new Duke and Duchess couldn't take their eyes off each other


As Kate Middleton walked up the seemingly endless aisle at Westminster Abbey in her stunning white dress and 2.7 metre train, millions will have remembered another young bride making a very similar journey 30 years ago.

Princess Diana's wedding to Prince Charles also gripped the nation, and many will have recognised similarities in everything from the red carpets the brides walked down to the way the couples waved to their supporters from the balcony of Buckingham Palace.

But there were also some notable differences.


Tell-tale signs perhaps showed that there was trouble ahead for Diana and Charles, while Kate and William clearly proved they are meant for each other.

As Charles and Diana left St Paul's Cathedral, they both looked away from each other and towards their crowds of supporters.

In contrast, the newly wed Duke and Duchess of Cambridge could not keep their eyes off each other as they stepped out of Westminster Abbey.

The similarities definitely outweighed the differences though and it was touching to see that William and Kate had looked to his parents' wedding for inspiration.

Similarities: Diana and her father Earl Spencer (left), and Kate and her father Michael Middleton looked remarkably similar as they walked towards the altar

Paternal pride: Both fathers looked proud and composed as they led their daughters up the aisle


The bridesmaids at both weddings were dressed in white, wearing crowns of flowers in their hair.

Both fathers looked proud and composed as they led their daughters up the aisle and both couples smiled as they took their first strolls as man and wife back towards the doors of their respective churches.

Diana and Kate's dresses were very, very different - Diana's Eighties number looks very dated - but both featured nipped in waists that showed off the brides' svelte figures, and both women wore impressive tiaras.

Newly-weds: Diana kept her veil on at the alter, but Kate took her veil off almost as soon as she joined her husband

Man and wife: Diana's longer train meant that there was more distance between the couple and their bridesmaids than at William and Kate's wedding - but otherwise, the similarities were startling


Kate looked much more at ease as she led her husband's hand while they walked out of the Abbey. Diana, on the other hand, had her arm limply linked through Charles'.

The photographs of the balcony scenes at Buckingham Palace look as similar as those from the wedding ceremonies.

But when you compare the scenes, telling differences emerge.

Crowd pleaser: Diana leans in for a kiss on the balcony of Buckingham Palace

And again: Last Friday, the initiative came from Prince William, with him suggesting both the first and second balcony kisses


Diana clearly leaned in towards Charles when she kissed him in front of crowds of fans.

But last Friday, the initiative came from Prince William, with him suggesting both the first and second kisses - and his wife happily obliging.

As the couple stepped back into the palace they gave a wave to the crowds that was almost identical to the one William's parents gave 30 years before them. Only the newlyweds were standing much closer together the second time around.

Royal wave: Kate and William stood much closer together than Charles and Diana as they gave one last wave to the crowds below them


Perhaps the starkest example of the differences between the two couples, though is in their official engagement photos.

Both the brides to be wore blue - to match the same ring they wore on their wedding ring finger. But Charles and Diana looked much more uneasy than William and Kate who were both grinning for the cameras.

Engagement photo: Both the brides to be wore blue - and the same ring - but Charles and Diana looked much more uneasy than William and Kate


Some similarities between the two wedding were just a result of both couples following age-old traditions. Both wedding cakes, for example, were white, tiered and very elaborate.

But Prince William said as soon as he got engaged that he would find ways to make it feel like his mother was by his side at his wedding - and taking inspiration from the ceremony she chose was a very touching tribute.

Majestic cakes: Both couples had beautiful white tiered wedding cakes that were elaborately decorated


source:dailymail

Programming a Generation of Hitmen

Hitman: The Movie is my main focus in this post, but I will delve into the game series where necessary. I'd first quickly like to point out that the protagonist of the video games and the movie (a bald guy with a bar code on his head called "Agent 47", in the games he is a clone) speaks to a disembodied voice called Diana Burnwood, she serves as the only link between him and the secret "organization" (its called that in the film) he works for: The International Contracts Agency (ICA) (sounds a bit like that new film Wanted). I was pretty amazed that they've given it the logo of MI5 pre-1955, with added Skull and Bones symbolism. We all know what they did to Diana Spencer, so this has added impact. Honestly, I think a lot of video games and movies are closer to the truth than the news media's portrayal of reality. See this, and more info on the Hitman video game series at wiki. Diana is a "controller" (ironic joke, I guess because she was most probably "controlled" herself) and speaks with an "upper-class British accent".

I've pointed out in numerous posts the use of the number 47 or 74 (or 7777), this is particularly blatant in the film The Bank Job. Hitman: Codename 47 was the original game's title, it was panned by the gaming media but I really liked it, the feeling of being able to hide out and plan and execute your target whenever you feel like it was most gratifying (and equally frustrating if you get caught or die). In hindsight, this sounds disturbed and twisted but that was probably the purpose of it's creation, to make us all into little potential hitmen. The below advertising campaign for Blood Money fits in with this (note the faceless assassin reflected in the mirror on the third pic down).

Hitman: The Movie leaves you in no doubt what it is really about straight from the off as "blue eyed boys" are shown being programmed whilst Ave Maria is sung. This opening sequence features loads of standard mind control symbolism; a few all seeing eyes, being submerged under water (see Dollhouse trailer) and other things. At one point when two children try and escape they are cruelly gunned down by a sniper (note the grid behind them), you see his eye then the red cross hair over the boys. This sequence is completed by focusing in on one of the boys' all seeing eyes with 7 points of light reflected in it, they form a hexagon, then he receives his twin "silverballer" guns from his master/programmer. I include a few shots from Manchurian Candidate, which I thought were similar (one showing lines of infantry being programmed, like the infants below, another showing how they're made to do horrible things like shoot somebody, as part of the programming). Codename 47 (in the game) can remember his programmer as "the man with the needle" this can also be seen in the below Manchurian Candidate programming as well as in the Hitman movie just before it cuts to the boy's eye. They are obviously being programmed for different things, so their programming is different but similar.

One of the major differences between the film and the games is the fact that, in the games all the assassins are literal clones, but in the movie they are the types of people I have mentioned in previous posts who are generally targeted for "illuminati" mind control. I'll let 47 describe it, "Rumor has it that he is working for a group known only as "The Organisation". So secret no one knows it exists. Takes no signs. Yet it has ties to every government. It's sole purpose is the training and conditioning of professional killers. These men are selected at birth. Rejects, Orphans. All of them, unwanted and disposable. They are made experts in every aspect of combat. And programmed for one purpose: To Kill." Though obviously, the "organisation" (illuminati, see MI5 logo above) are more than just mind controlled assassin programmers (I'm sure they delegate), this is a metaphor. Desperate gamers have seeked to put the clone storyline (which is symbolic enough of multiple personalities, but is not in the film) into the movie, instead of the harsh reality of what it is really portraying. They claim this by saying that because 4 people with the bar codes on them are fighting at one point which "obviously" suggests they're clones.... obviously they are all programmed when they were young orphans and given the bar code tattoo (like the film actually shows and says), I see no suggestion of cloning. This excellent list of characters from the Hitman series has it right which says that: "The film version, for instance, (47) is not a clone, but an orphan (presumably) who was trained by the Organization to become an expert assassin when he was a child. Also, the film version is revealed to have a photographic memory." (photographic memory like programmed assassin Jason Bourne etc.) The quote at the top of this paragraph is spoken (at the start, after the western programming prison opening scene) as images of 47 executing a hit in Nigeria are shown.

I've had the movie downloaded for ages, but never got round to watching due to poor media reception, something compelled me to watch though on the night after doing a post on adverts from Vogue. Synchronistically, as if to affirm my thinking that advertisements in Vogue/Tatler/etc. are designed with mind control triggers placed within them, he is shown reading these types of magazine numerous times. The ridiculously attractive Olga Kurylenko (new Bond girl, more on her later) asks, "why do you buy these magazines?", he responds "For the advertisements." Which is the reason I flick through them when they're lying around, they are largely filled with violent subliminal imagery, or just subliminal triggers in general. The fashion industry is one of the most perverse/twisted industries turning the female population into materialistic (bullimic) robots who are obsessed with hypnotically staring into the magic mirror, each time they look into the mirror and put on their masks (makeup and such) it brings them closer to their minds fracturing completely thus creating an alter-personality.... or something... maybe. But then I'd miss all the beautiful people... so I'm torn... modern society is confusing. Of course, we are all beautiful but I won't deny I've been somewhat brainwashed into "their" accepted standard of beauty. Anyway, all these subliminal triggers probably "comfort" him in a way, as they make him feel at home (where he was "programmed" through trauma)... as sick as that sounds I think psychologically it does make sense. If he just wanted things that had advertisements for stuff to carry his guns in he would not continue to ritualistically buy these types of fashion magazines.

Olga Kurylenko is an interesting person, I watched a movie with her in last night, which was pretty disturbing in their treatment of Olga, it is probably a metaphor for what they have planned for her. She is absolutely blatantly portrayed as a mind control sex slave in this French film, The Serpent which, sychronistically is (not overtly) about mind controlled models and the fashion industry(have not watched to the end yet mind, fell asleep). Loads of symbolism in that film, I do recommend it despite it's obvious sinister undertones. By the way, here is The Serpent's website[Edit: It looks like they got rid of the official site and the domain 'theserpentmovie.com' was sold to some sick incest/abuse/rape porn site as the URL link had not been changed so I'm fairly sure the site hasn't been hacked (thanks to 'Ouch Adrian' commenter bringing this to my attention)]. Any film with lines through the title (or fragmented letters) is symbolising a fragmented mind, like on that website, and scan back through my mind control movies post and see which of them have these 'fragmented' titles, a few of them do.

This eye will be in the new Bond film, as will Olga.

47 is told by his "controller" Diana, that Olga had witnessed the shooting and he is about to kill him but he is stopped in his tracks by seeing her tattoo on her face (as you can see they are not visible in the image on his laptop above so is caught unawares), wikipedia does not recognise this as the reason for him stopping suddenly. Tattoos are used by handlers/ programmers/ controllers to mark the person as their personal property. Olga has a dragon/serpent tattooed onto her face, the assassins all have bar codes on them, which features in Disney's latest mind control fest Enchanted (post on that to come). He wonders why she has marked her face in such a way (because he only knows tattoos as symbolising his submission to his "owners"). She explains that she put the tattoos on her face because "it's the only place Belicoff wouldn't hit.", Belicoff is the guy 47 was supposed to have assassinated.

47 speaks to Diana and says that Olga saw nothing, Diana says that he will not receive payment because his target was still alive. His target was the Russian president, he successfully killed him but a body double has taken over from him as president (working for a secret cabal). He finds out his location has been compromised as an FSB agent ("T-bag" pedophile from Prison Break) sends men in to kill him. But, every good programmed assassin has an escape route planned, he jumps out the window holding onto a pre-prepared rope, an explosion occurs as the stormtroopers (with red eyes) open the door and he flies through twin pillars (note the reflection in the window that he is about to shatter) before crashing through and shattering the glass window, arriving at a couple of kids playing the Hitman game (confusing reality with dreamworld/video gameworld).

Then there's loads of walking through corridors/hallways passing all the numbered hotel room doors and such with his twin guns. He kills 5 of the soldiers inside an elevator. After he has escaped by jumping into a river he buys a new suit, he ritualistically wears the red/white/black combo pretty much all the time which I've been going on about less lately but is still everywhere (not pictured, basically the same as the mirror image above, more on those colours in a forthcoming Big Brother post). He looks at a picture of Olga, where we can see she has interlocking rings on her (#8), he then kidnaps her. She is treated in a similar way to the way she is treated in The Serpent, specifically she is thrown into the boot of a car (dark confined space) in both (they both have dead bodies in them too, though in different ways). The car she is thrown into is an Audi, it has the interlocking rings on it also. It seemed to me that a lot of groups of numbers (hotel room number 515, below number plate 533 and others (4+7=11) added up to 11 showing twin pillars/mirrored/dual personality symbolism.

Plenty of Hexagonal roads in Enchanted post coming soon.

47 then takes her for "questioning" in a room with a dirty mirror, causing an altered/innacurate reflection. They go to a train station, where he is chased by another programmed assassin, whom he easily dispatches. Then three more come and they have a symbolic fight sequence where they no longer use their twin guns but rather their blades, they stand in a pretty much perfect octagonal shape as they do this (gaps between them are the horizontal and vertical lines). Also in the station, a mirrored K is seen which I presume is a Russian letter. There is a tonne of corridor scenes here, with flashes of light and whatnot going on throughout, this is probably mind control leading up to the symbolic fight scene (accessing another compartment of the mind=hallways/doors, ready to bring out the alter personalities contained in that compartment by fracturing the glass ((the mind))). I'd also like to point out the over-use of fractured glass in this scene, the one who has his head bashed against the glass causing it to fracture is dispatched in the most psychopathic way (being hung, hanging man) probably showing the "illuminati's" racist ideology. He is kicked through the back of the train's window and lands in a seemingly endless corridor which is the train track. After the fight, he picks up the knives then places them in a box next to another Russian mirrored K, this time with OCTPOKHO written which goes well with the octagon they had been positioned to make whilst facing off moments ago.

Desmond from Lost features, playing a "slave trafficker" where he is seen surrounded by lifeless looking mind controlled (I presume) sex slaves wearing mask-type things. He plays Belicoff's brother Udre. He has a twin serpents tattoo on his chest, they are facing eachother (may be a two-faced serpent, sharing the same body), usual amount of shattered glass/mirrors. Udre is killed next to a gold lion face fountain thing.

We are then taken to the interpol agent who has been tracking "Agent 47" over the years. Where 47's suitcase is given to them and a key is focused on symbolising the accessing of a compartmentalized area of the mind with the right trigger (key=trigger when put in the lock, waiting to unlock the specific compartment containing the alter-personality). Written on it is "Trust unto God, and he will direct your path" God being the handler, 'direct your path' symbolising the control they have.

Then the finale which takes place at Udre's funeral, fake-Belicoff speaks behind protective glass. When one of the FSB agents is ordered to shoot the president (he misses), the glass fractures, slowly before it eventually shatters completely. The way this fractured/shattered glass is constantly used and focused on in this film tells me that it is done for the purposes of mind control (and not just a happy coincidence). This symbolises the fracturing of the mind so it is compartmentalized, allowing the alter-personalities (residing in the different compartmentalized sections) to be released and the old personality now laying dorment in another compartment(symbolised by the complete shattering of it, implying it is gone, but can be pieced back together with a specific trigger).

A lot of finale's seem to take place over a checkerboard floor... I wonder why. You find out that the key fits into the Archbishop's chambers (I think 47's programmers were Opus Dei or Jesuit type people). He takes fake-Belicoff into the chambers where he stamps on some guys head, breaking his skull against the checkerboard floor. After killing Belicoff, a helicopter comes (what do those numbers add up to?) but misses him completely. He sits, in his pre-programmed position (see beginning pictures) waiting to be taken out of the building (to escape) upon completing his mission (killing final Belicoff) . An angel in stone features here also. Then this symbolic scene to finish the film.

Your face here.

The Hitman insignia is supposed to be a stylised lily. The film was panned for having a "confusing plot", it was certainly confusing but it was probably meant to be confusing as it would make you more suggestible to the things that I've mentioned in this post.