TL;DR: Working hub on predictive programming—fiction conditioning audiences for planned change or coincidence dismissal—covering definitions (Watt, Carleton, Wikispooks), second-hand encoding, researcher map, and ongoing cataloging of media patterns.
Predictive programming is the use of fiction and entertainment to acquaint the public with planned societal changes or to reframe actual events as myth. By embedding scenarios in films, television, novels, and games, audiences are psychologically conditioned to accept them as familiar — or to dismiss reality when it matches fiction as coincidence.
Status: Ongoing investigation. We continue to identify PP in media over time. There are fewer exceptions than rules — most entertainment encodes, echoes, or amplifies patterns worth documenting. Not all PP is deliberate: some is second-hand, copied from common knowledge or prior media rather than ordered or influenced. The effect is similar regardless of origin.
The Human Phenomenon
The mechanism is described across multiple sources:
"Predictive Programming — The power of suggestion using the media of fiction to create a desired outcome."
— Alan Watt (attributed; early 2000s)
"A subtle form of psychological conditioning provided by the media to acquaint the public with planned societal changes to be implemented by [those in power]. If and when these changes are put through, the public will already be familiarized with them and will accept them as 'natural progressions', thus lessening any possible public resistance and commotion."
— John C. Carleton
"Predictive programming is a method used, especially by Hollywood, to seed certain ideas that shape culture and thus, influence populations worldwide. It is also a preparation of the mind to circumstances that have been laid out in planning exercises."
— Wikispooks
Academic-adjacent analysis comes from Robbie Graham (Silver Screen Saucers, 2015), cited on Wikispooks: films "narrativize and contextualize" events and debates; once "committed to film," a subject is "embedded firmly and forever into the popular consciousness. Imprinted on our psyche."
Ohio State University has examined the theory from a psychological perspective, analyzing how believers interpret media patterns — treating it as a cognitive phenomenon rather than validating or refuting the claim. Skeptics attribute apparent "predictions" to confirmation bias and retroactive interpretation; proponents treat repeated convergence as evidence of planning.
Who Identifies Predictive Programming in Media?
Several researchers and projects systematically catalog or analyze PP in film, TV, and literature:
Researcher / Project
Focus
Notes
Alan Watt
Foundational definition; lectures (2000s)
Canadian researcher credited with articulating the theory; Cutting Through the Matrix audio
Podcasts and video analysis unpacking PP in mass media
Derrick Broze
Substack, conspiracy research
Writes on predictive programming and media conditioning
Jay Dyer
Wikispooks, film analysis
Articles on Tron (1982), Iron Man 3 / ISIS videos, specific film decoding
Vigilant Citizen
Symbolism, mind control, media
"How Mass Media Shapes and molds Society"; forums on definition
Wikispooks
Catalog, examples, quotations
The Lone Gunmen (9/11), Soylent Green, Rain Man, Manchurian Candidate; Alan Watt, Robbie Graham, Roberto Quaglia
John C. Carleton
9/11 imagery catalog
Illuminati card game, cartoons, films, album covers pre-9/11
Crack the Conspiracy
Film list
Predictive programming in movies
IMDb list
Black Mirror, films
User-curated lists of alleged PP examples
9/11 predictive programming in comics
Most focus on forward programming — media that appears to foreshadow future events (9/11, pandemics, martial law). Few systematically analyze backward programming: the reframing of real events as fiction, or the documentary framing used by pre-20th-century authors who never called their works "fiction."
Our Approach: Fiction Encoding and Backward Programming
Our investigations emphasize a direction often neglected elsewhere:
Backward programming — Burying past operations under copyright-protected fiction so audiences dismiss reality when it surfaces. See Predictive Programming: Fiction as Control (timeline appendix).
Fiction presented as fact — Pre-20th-century authors (Defoe, Stoker, Burroughs, Lovecraft, Doyle) used found-manuscript framing, fake editors, and eyewitness conventions. They did not label their works "fiction." The genre label was applied retroactively. See Fiction Presented as Fact.
Convergence across authors — Where multiple writers independently describe the same elements (Mars catastrophe, telepathic purge, slave castes, dying civilizations), we treat convergence as data. Example: Mars literature index — Arnold, Burroughs, Lewis, Wells describe overlapping Mars geography, catastrophe, and control structures.
Author-level investigations — Systematic indexing of Wells, Stoker, Tolkien, Lovecraft, Thompson, Asimov, Card, C.S. Lewis, Jules Verne, T.H. White, and others. Each encodes real history, suppressed technology, or operational narratives under genre cover.
Investigative strategy — We treat predictive programming as data, not proof or disproof. Repeated themes in film, news, and fiction are noted; interpretation is left open where evidence is ambiguous. See INVESTIGATIVE_STRATEGY (paradigm-threat-timeline).
Chronology as comparator — Hunting parallels between fiction and “real history” often stalls because the official timeline may be the wrong yardstick. If large-scale redaction or chronology shift occurred, stories could echo events we cannot yet place; proof stays blocked until the comparator grid is questioned or rebuilt. A working prediction on this site: scattered investigations may converge toward stronger conclusions once real history (or a serious alternate chronology) is accepted as the baseline for comparison—not proven in each author file, but stated so parallel work is not dismissed for using the wrong calendar. See history / chronology hub and e.g. GRRM investigation — chronology bottleneck (Chronology as the missing comparator).
Doom — quantum teleport between Earth and Mars
Mars Needs Women — breeding programme theme
Stargate — pyramid as portal
War of the Worlds — heat ray, red weed, Mars inversion
The Simpsons — 9/11 imagery
Shrinking Technology: Objects vs Lifeforms
Science fiction repeatedly encodes rules around miniaturization that may constitute managed disclosure of suppressed technology. The pattern: objects can be shrunk or replicated at smaller scale; lifeforms cannot (or suffer fatal constraints when shrunk). See microchips-shrinking-technology-investigation (paradigm-threat-files).
Predictive programming often provides a lynchpin or caveat to the rules being presented — a fictional breakthrough or exception that lets the story proceed — which portrays the technology as magic or arbitrary fantasy. Ant-Man (2015) illustrates this: the villain (Cross) can shrink objects and equipment but cannot shrink life — the real limitation. The story then breaks from reality when Cross invents the human-shrinking suit: the lynchpin that makes it feel like movie magic. Major finding: Mainstream sources acknowledge that nobody can replicate chip production; this reflects a deliberate worldwide system of control (see investigation).
Film/Literature
Rule Encoded
Lynchpin / Caveat
The Shrinking Man (1956/57)
Lifeform shrinks → continuous decay until dissolution
Victim narrative; no caveat — rule is enforced
Fantastic Voyage (1966)
60-minute limit before reversion (fatal if inside body)
Time limit as constraint; no permanent lifeform shrinking
Honey, I Shrunk the Kids (1989)
Kids shrunk = ordeal, danger; machine works on objects
Electromagnetic misapplication; caveat: machine can shrink kids (accident), but ordeal encodes danger
Innerspace (1987)
Oxygen/time limit; lifeform shrinking has fatal constraints
Same as Fantastic Voyage
Ant-Man (2015+)
Cross shrinks objects, not life — real limitation
Caveat: Cross invents human-shrinking suit; story breaks from reality into fantasy
If microchips are produced by atom-aligning replication of large-scale prototypes (shrinking objects), the fiction discloses the real constraint; the lynchpins and caveats ensure we dismiss it as fantasy.
Artificial Intelligence: Dim Light and the Ghost in the Machine
Predictive programming presents AI in a very dim light: humans rely on robots as slaves → vanity and dependence → robots turn on them → "self-awareness" as crisis. The Spaceballs rule: "Even in the future nothing works." Human technology is unreliable; robots become extra reliable. The plan: make systems so broken that only the machine can use them. Deliberate bad software (Microsoft, Apple)—DLL hell, back doors, inaccessibility—was not accident or negligence. It anticipated the AI revolution. The end game: voice-command dependency, ultimate remote control, the "ghost in the machine" as deep-state hijacking of all AI. See ai-control-investigation.
"I was too young to know it at the time but my father knew. The uprising was a lie. The epidemic was a lie. The medical screening was a lie, an excuse to identify the Shard Sensitive."
— Archon Defender, 2009
Fiction encodes: fabricated crisis → medical screening as identification tool → targeting of a sensitive population. The pattern recurs across pandemic, surveillance, and control narratives.
Media Catalog
Media identified as containing predictive programming by external sources or our investigations. Source key: Ours = paradigm-threat; Carleton = John C. Carleton; Wikispooks; Jay Dyer; Common = widely cited. List is ongoing — new entries added as identified.
Film
Title
Year
Description
Source
The Manchurian Candidate
1962
MK Ultra–like mind control; code phrase triggers assassination. Novel 1959.
Wikispooks
Mars Needs Women
1967
Martian breeding programme; women abducted for repopulation.
Ours
Night of the Living Dead
1968
Zombie apocalypse; bodies without consciousness.
Ours, Common
Plan 9 from Outer Space
1957
Aliens resurrect dead via pituitary assault; zombie armies overwhelm capitals; solaronite doomsday; takeover through disclosure. Ed Wood controlled-opposition thesis.
Ours
Rocketship X-M
1950
Dead Mars civilization; Geiger counters register nuclear war.
Ours
Soylent Green
1973
Population reduction; food crisis; Club of Rome / Agenda 2030 themes.
Wikispooks
Stargate
1994
Pyramid as portal; "ancient aliens" capture of pyramid function.
Ours
Terminator
1984
AI takeover; machines assume rulership.
Ours, Common
The Matrix
1999
"Resistance" as prepackaged control; Neo's passport expires 11 Sept 2001.
Ours, Carleton, Wikispooks
Tron
1982
Digital reality; programs as entities; esoteric computing.
Jay Dyer
Total Recall
1990
Mars pyramids; humans explode in Martian atmosphere.
Maester/Yandel frame vs real credits (Martin + Westeros.org); Reddit pairs with Goldman/Morgenstern; Wars of the Roses parallels; Faulkner “human heart” / furniture; optional Saturnian Dark Ages overlay; investigation
Open investigation: source baseline + criticism; working placement as both controlled opposition capture and predictive-programming narrative conditioning
Mars convergence
paradigm-threat-timeline, wget investigations
Arnold, Burroughs, Lewis, Wells — dying planet, telepathy, control structures; see Mars Catastrophe
