“The Cabin in the Woods” is a widely successful horror film that also obtained great critical acclaim. While many appreciated the movie for its wit, humor and originality, the movie’s storyline is nevertheless serious and very real: It depicts the elite’s use of occult rituals on the unsuspecting masses. We’ll look at the symbolic meaning of “The Cabin in the Woods”.

Considered to be “groundbreaking” and a “game changer” by movie critics, The Cabin in the Woods contains many elements of classic horror films while adding interesting new elements to the mix. It continually refers to and comments on the horror movie genre, praising some aspects of it while poking fun at the many clichés that are found in the genre. The basic plot has been seen many times as it involves zombies running after teenagers that are so dumb and generic that you almost want them to die. But there is more to the story than hack and slash: It is about elite puppeteers overseeing a massive blood ritual using mind control and high tech monitoring. In the end, The Cabin in the Woods is a metaphor for our heavily controlled society that is under the control of dark, hidden forces. The movie was co-written and directed by Joss Whedon, who also created Dollhouse a TV series that tackled the concept of mind control in a rather obvious way.

At first glance, the characters of the movie are heavily clichéd, to the point that it is absurd. We have the typical jock, the typical slutty girl, the typical stoner, the boring smart guy and the timid prude virgin. These teenagers are purposely generic to comment on the boringness of characters in bad horror movies, but, as the story unfolds, we also discover that they were selected and manipulated by an organization to fully embody specific archetypes in order to complete a ritual.

The heroes (or the victims) of the movie are somewhat uni-dimensional. We soon learn that they were manipulated to become that way.

As the movie progresses, many key aspects of the occult elite and its way of functioning are described in vivid detail: Mediatised mega-rituals, occult secret societies, mind control, high-tech monitoring and so forth. At the end of the movie, one might realize that these scared and confused teenagers running around and falling into traps are…us, aka the masses. Let’s look at the elements found in the movie and analyze their full significance.

The Nameless Organization

At the beginning of the movie, we see five friends hoping into van and driving to a cabin in the woods (hence the title of the movie) where fun, alcohol and teenage frolicking awaits. The pals however don’t know that this weekend of apparent partying is, in fact, a big ritual sacrifice conducted by a high-level, international organization.

Never named in the movie, the organization behind the blood sacrifice utilizes high-tech facilities across the world and appears to have a great amount of resources and employees. Can we associate this organization with the occult elite, the NWO and its secret facilities? Yes, yes we can.

Simply looking at the command center, we understand that is not a small, clandestine operation, but a highly sophisticated organization dealing with military tracking equipment that is only available at the highest governmental levels.

The organization’s sole purpose is to set up high-profile mega-rituals involving the deaths of civilians across the world in order to appease dark forces beneath the Earth. These rituals are made possible through the manipulation of certain individuals into doing certain things, causing them to unknowing become participants in an occult ritual. This concept has been discussed several times on this site as mega-rituals involving symbolic elements and blood sacrifices do happen in real life, where everything is staged and set up to obtain maximum exposure and magickal potency.

Although this is a very obscure and taboo subject, some occult researchers have determined that many mediatised events are actually mega-ritual carried out to fulfill specific occult objectives. Whether we go as far as Jack the Ripper or as recently as the Batman killings, some murders are actually set up to follow specific rules and to imprint society with specific symbols.

“Of course, many serial murders are nothing more than the work of a single individual acting out a graphic horror movie he saw, or responding to powerful “psychotic” impulses for aggression and predation. But many other serial murders involve a cult protected by the U.S. government and the corporate media, with strong ties to the police. These murders are actually intricately choreographed rituals; performed first on a very intimate and secret scale, among the initiates themselves in order to program them, them on a grand scale, amplified incalculably by the electronic media. In the end what we have is a highly symbolic, ritual working broadcast to millions of people, a Satanic inversion; a Black mass, where the “pews” are filled by the entire nation and through which humanity is paganized, brutalized and debased in this, the “Nigredo” phase of the alchemical process.

The French adept Antonin Artaud, architect of the theory of the “Theater of Cruelty” with its transformative power, and the inspiration for the extreme sex-and-death media of our time, had this to say about the processing of the Group Mind: ‘Aside from trifling witchcraft of country sorcerers, there are tricks of global hoodoo in which all alerted consciousnesses participate periodically… That is how strange forces are aroused and transported to the astral vault, to that dark dome which is composed above all of… the poisonous aggressiveness of the evil minds of most people… the formidable tentacular oppression of a kind of civic magic which will soon appear undisguised.’

The issue of controlling humanity with esoteric words and symbols encoded within a play, a media spectacular or a ritual is one of the most difficult for people to comprehend. That is why most people are viewed with utter contempt as “cowans,” “the profane,” the “gentiles” and the “goyim” (cattle) by secret society initiates. “I think we are farmed,” Charles Fort said of humanity. It was Fort who also suggested that man deliberately invented the dogma of materialism in order to shield himself from the evidence of what was being done to him by means of psycho- spiritual warfare methods hyped by “coincidence,” symbolism and ritual.”
- Michael A. Hoffman, Secret Societies and Psychological Warfare

Although the above quote was written more than 20 years ago, it perfectly describes the plot ofThe Cabin in the Woods which, in turn, describes mega-rituals in a direct but very caricatural matter. By doing so, the movie reveals the elite’s way of functioning while fictionalize it – it puts everything out in the open while making people believe that “it’s just a movie”. While there is a lot of satire and foolishness in the movie, it underlying concept is truer than most would believe.

The shady organization carries out rituals across the world, some of which succeed and others fail. Most are made to appear as “accidents” and those that succeed are widely publicized across the world.

This elite organization, as powerful as it is, only obeys the will of dark forces called “The Ancients” and “the gods”. The “technicians” overseeing the ritual are actually members of an occult brotherhood and their job is to make sure rituals are complete.

After the death of the first victim, we see one of the technicians reciting a dark prayer and then kissing a pendant bearing the secret society’s magical symbol. Like in real life, some operations that appear to be about science and pragmatism are actually motivated by very obscure and occult reasons.

So the U.S. branch of this shady Organization manipulates five all-American students to go spend a weekend in a remote cabin in the woods. The cabin is set up in an environment that is totally artificial and controlled by the puppet masters. In fact, the cabin and its surrounding is one big TV recording studio, complete with mics and cameras, mind altering drugs to control the actors and remote controlled doors and light effects.

As the teenagers drive towards to the cabin’s location, we realize that they are entering a “virtual” zone that is totally created by and controlled by the organization. Inside of it, the teenagers become puppets at the hand of high-tech puppet masters.

The Sacrificial Lambs

Once arrived at the cabin, the teenagers are made to embody specific archetypes in order to complete the ritual drama required by the gods. It therefore needs to be carried out in a specific matter and it needs to completely recorded and televised. The “gods” require the death of five specific archetypes in the ritual drama: The whore, the athlete, the fool, the scholar and the virgin.

The Whore

In the brotherhood’s temple are displayed stone tablets representing each archetype that needs to be slain. This one represents the whore.

Right from the start of the movie, the character named Jules Louden plays the role of a s-bomb that appears to be aroused by anything. During her (short) stay at the cabin, she constantly feels the urge to talk about doin’ it or to dance like a stripper. We however learn that Jules is not being herself: She was drugged and manipulated to become the proverbial whore. Upon closer look, an astute viewer might realize that Jules Louden bares many characteristics of a Sex Kitten mind control slave.

The first scene involving Jules emphasizes the fact that she dyed her hair blond. In Mind Control symbolism, blond hair is used to identify Beta Kittens – Marylin Monroe programming. We then learn that the “puppet masters” laced her hair dye with chemicals to reduce cognition and to augment her libido.

So Jules is not usually a whore – she was manipulated and drugged into becoming one, the same way the elite uses mind control to make regular girls become Beta Kittens (think of the many slutty “celebrities” that started off “normal”). In the cabin, Jules displaying typical behavior of a MK slave, victim of Beta programming.

“BETA is referred to as “sexual” programming (slaves). This programming eliminates all learned moral convictions and stimulates the primitive instinct, devoid of inhibitions. “Cat” alters may come out at this level.”
- Ron Patton, Project Monarch

The most obvious example of Beta Kitten behavior occurs when Jules is “dared” to make-out with a wolf head mounted on the cabin wall. She engages in a disturbingly long make-out session with the wolf head, as her friends awkwardly watch. The scene ends with Jules saying “thank you” to the wolf, confirming that the drugs she was given completely eliminated her inhibitions.

Jules is getting a lot of pleasure making out with this wolf head  because she was programmed to accomplish such tasks. Bestiality is only one of the twisted things actual Beta Kittens are ordered to do by their handlers.

The puppet masters make it clear that Jules needs to be sacrificed first – because she is a whore and therefore corrupted. This needs to happen in a very specific matter in order to follow dark occult principles. The technicians want her to be killed during coitus and, more specifically, when she is nearing climax. Magic principles stipulate that individuals accumulate the most “life force” during the moments right before climax. Sacrificing a person right at that moment would therefore insure the most magical potency to a ritual.

The technicians closely monitor Jules copulating with the jock, hoping that she will take her shirt off. Explaining the ritual to an “outsider” who doesn’t understand why she MUST undress herself, a technician says: “We’re not the only ones watching…Got to keep the customer satisfied. You understand what’s at stake here?” In other words, the ritual needs to be graphic and fully broadcasted to be considered a success, something we see in real life without even realizing it.

After a few minutes of frolicking, which gets the teenagers (and the viewers) excited, Jules gets viciously attacked by a zombie right when she nears climax. The odd combination of copulation and death is characteristic of the dark rituals and is also featured be in underground snuff films circulated in elite circles. In short, Jules’ death was planned according the occult elite’s way of functioning.

The Fool

Like in most horror movies involving teens, there is some kind of stoner in the pack providing comic relief. Always smoking a joint, the character named Marty Mikalski plays that role. Interestingly enough, the “fool” is also quite the conspiracy theorist.

Inside the van, Marty explains how society is being heavily monitored through cameras and “chips inside children’s heads”. He states that one must sometimes “go off the grid” to escape the madness. Of course, he says all of these things while rolling a joint, subtlety telling the viewers: “Only paranoid pot heads are against microchips and state monitoring”. To make things worse, Marty then shows a finished joint to Jules and tells her “I’ll make you see things my way”, meaning that being “aware” equals being on drugs.

 “Conspiracy theorists” (or anyone with non-mainstream views) are always depicted as loons with little to no credibility. Marty in The Cabin in the Woods accomplishes the same function. While he says things that are believed by many people, we still almost hear a “coo-coo” sound effect in the background while he discusses microchips and such.

The fool however turns out to be right about a lot things and tries to convince his friends about the conspiracy they are involved in. As it is often the case, nobody believes him until it is too late, because, after all, he is the fool.  We’ll later see how he’ll turn out to be an unlikely hero (while also destroying the world).

The Virgin

In most cultures that practiced ritual sacrifices, virgins were considered to be the “highest quality” offerings due to the fact that they were considered pure, clean, uncorrupted and innocent. They were untainted by man and the world and were therefore perceived as holy and the most spiritually potent. The character named Dana Polk was made to play that role in the ritual drama, although she isn’t actually a virgin (there’s apparently not many teenage virgins available nowadays)

Although she appears to be the weakest and the most vulnerable of the victims, the virgin ended up being an unlikely hero.

For the ritual to be complete, Dana needed outlive all of her friends and her death was optional. The important thing is that she suffered as the puppet masters need capture pain and punishment on camera, a fetish of the real life dark forces behind the Illuminati. In fact, the ritual in The Cabin in the Woods follows a specific protocol that is similar to the actual rituals carried out by the occult elite. Here are some of them.

Rules of the Ritual

Most mega-rituals follow specific rules that are clearly spelled out in the movie. These rules are made to give the rituals more potency while allowing the powers that be to avoid the negative effects of bad karma (according to their weird interpretation of it).

1st Rule: Announcing What Will Happen Beforehand.

On their way to the cabin, the teenagers meet an unsavory character dubbed “The Harbinger” that warns them in not-so-subtle ways that they will be killed. Despite the warnings, the friends resolutely carry on.

As seen in previous articles on this site, mega-rituals are often preceded by “clues” in mass media warning or preparing the victims (and the world) for what’s coming. If after being warned, victims go on by their own free will, then the puppeteers are liberated from karmic responsibility.  During the movie, one technicians says:

“They have to make the choice of their own free will. Otherwise, the system doesn’t work. Its like The Harbinger…this creepy old fuck who is practically wearing a sign saying ‘You Will Die’. Why do we put him there? The System. They have to choose to ignore him. They have to choose what happens in the cellar. Yeah, we rig the system as much as we need to but, in the end, if they don’t transgress, they can’t be punished.”

This concept is often seen in real life where victims of ritual sacrifice place themselves in a specific situation, although they have been thoroughly manipulated to do so (see MK victims dying from an “overdose”).

In one of the cabin’s rooms is a painting depicting a lamb being torn to pieces by all kinds of vicious creatures. This is yet another way the victims are subtly “warned” of what is bound to happen. However, since the kids have no idea of what’s happening, they simply ignore it. This can be compared the elite hiding in plain sight warnings and predictions about the NWO in public places (see the murals at the Denver International Airport).

2nd Rule: The Victims Must Seal Their Own Fate

Although every aspect of their environment is tightly controlled and manipulated by the puppet masters, the victims are still made to choose their fate by their own free will.

By reading cryptic Latin phrases inside a book, the 5 friends summoned themselves the redneck zombies that will tirelessly want to kill them. By triggering the killers themselves, the puppeteers are freed from karmic responsibility.

Although the above concepts are extremely obscure, they are clearly defined and communicated in the movie. They are a reflection of the occult elite’s (aka the Illuminati’s) particular way of functioning, where nothing is obvious and everything is manipulated behind the scenes in order to obtain a specific result. Ancient blood sacrifices were accomplished out in the open with participants that knew what was happening (not that I’m idealizing those days) but today, it is about deceit and manipulation, with an emphasis placed on suffering and anguish, something that only those dealing in black arts would revel on. Upon discovering exactly what was happening, Marty (the stoner) says:

“A ritual sacrifice? Great. You tie someone to a stone, get a fancy dagger and a bunch of robes. It’s not that complicated.”

To which the virgin replies:

“It IS simple. They don’t just want to see us killed. They want to see us punished”.

Who Wins in the End?

The ending of the movie is very telling, yet very unsettling. In order for the ritual to be complete, Marty must die before the virgin. If this doesn’t happen, the “ancient evil gods” will rise and kill everyone on Earth. When asked to kill himself to save the world, Marty refuses – knowing very well he’ll be killed anyways by the evil gods.

Dana and Marty then light up a joint and wait for the gods to rise. Dana says:

“It’s time to give someone else a chance…Giant evil gods”.

Then a giant hand rises up from beneath the Earth, kills everyone and then reaches out to grab the movie viewers. And that’s how the movie ends…with an evil god grabbing the viewer.

The big winner of the movie? An Evil god aka Satan himself.

So, in the end, the only winner of the movie is a “giant evil god” rising up straight from hell, one that could be equated to Satan in Abrahamic religions. Dana and Marty, the “heroes” of the story, therefore willingly allowed the evil god to rise up and to take over the Earth. The “heroes” brought about the worst ending possible, one of the movie’s original twists that kept the audiences guessing. It nevertheless has an important symbolic meaning and tells a lot about those who are behind the movie. In retrospect, were the puppeteers the good guys or the bad guys? They were sadistic jerks carrying out an occult ritual but they were also trying to save the world from the wrath evil gods. Hmmm…