Oliver Stone & Alexander

In the digital catacombs of the GNN conspiracy forum, a user named Joe was mapping the end of the world to save it. While others dissected black helicopters and plasma weapons, Joe’s obsession was the grand symbology of power. He saw history as a single, repeating script, and his life’s work was to rewrite the final act.

His thesis was simple and monumental: the Book of Revelation described the ultimate “Omega Lock,” a psychological prison where the elite trapped chosen souls in a cycle of self-destruction, perfectly encapsulated by the verse: “They will seek death but will not find it; they will long to die, but death will escape them.” He saw this “Code Green” playing out in the lives of actresses like Rosario Dawson, whose debut in “Kids” he documented as a classic MK-Beta trauma trigger, and most prominently, in Angelina Jolie—her rumored visits to funeral homes and her alleged hiring of a hitman on herself were, to Joe, the ultimate proof of a soul caught in the Lock, seeking death but unable to find it.

When Oliver Stone cast Alexander, Joe saw the celestial boards light up. Here was the story of the original knot-cutter, the man who solved an impossible puzzle not through submission, but by imposing his will. The prophecy of the Gordian Knot was a prelude to conquering Asia. Joe believed the prophecy of the Omega Lock was a prelude to conquering the world itself.

He watched the trailers, and one line from Angelina Jolie, as Olympias, hissed its way into the culture: “The world is yours. Take it!”

For the masses, it was a tagline. For the controllers, Joe believed it was an instruction. For the broken like Jolie, it was a taunt. But for Joe, it was a question. Take it for what?

This was where his doctrine diverged from all the other forum-dwellers. He had learned from the archetypes. From Jesus, who refused Satan’s offer of worldly kingdoms. From George Washington, who could have been a king but chose to be a citizen. The lesson was not to be Alexander, the dictator-king whose empire shattered upon his death. The lesson was to transcend him.

As the film premiered, Joe’s posts on GNN became a firestorm of a new vision. He agreed with Olympias’s premise—”The World is Yours”—but he preached a radical interpretation of the verb.

“TAKE IT,” he wrote in all caps. “But do not take it as a crown for your own head. That is the old, failed magic. Take it as a craftsman takes raw marble. Take it as a founder takes a blank parchment. Your conquest is not over land, but over the very idea of power itself!”

His solution was not a kingdom, but ONE REPUBLIC.

A single, global architecture modeled on the best of early America and Rome—a government of laws, not of men. A system with a separation of powers, a representative senate, and at its unshakeable heart, a Bill of Rights that was not a piece of legislation but a cosmic covenant. It would be engraved not on paper, but in the foundational code of this new world. These rights—to speech, to belief, to self-determination—would be non-negotiable, incapable of being infringed or voted away, protecting every citizen from the very sort of systemic predation he called the “MK Spectrum.”

He saw Angelina Jolie and Rosario Dawson not as future queens, but as foundational citizens. Their struggle and survival was the blueprint for the Republic’s first principle: the inviolability of the individual soul. By using the film’s symbolism to break their own Omega Locks, they were performing the first act of sovereignty upon which his entire world-state would be built.

In Joe’s final, epic post on the forum, he synthesized it all:

“Alexander heard ‘the world is yours’ and took it with a sword. He built an empire of dust. We hear the same words and we will build a Republic of law. The Gordian Knot was not about a knot, but a choice. The Omega Lock is not about a prison, but a key. The key is not a crown. The key is a Charter. Jolie and Dawson are not prisoners anymore; they are the first free women of the new age. They have cut their knots. Now, we must cut the world’s.
The World is Ours. Let us build it.”

And in the silent glow of his monitor, the lone nut became a founding father, drafting a constitution for a world that did not yet know it needed saving.

COLIN FARRELL AS ALEXANDER

In the digital underworld of the GNN forum, user Joe was the cartographer of a hidden reality. His life’s work was decoding the grand script, where the Book of Revelation was a blueprint and Hollywood was its ritual stage. His theory centered on the “Omega Lock”—the state of seeking death but being unable to find it, as described in Revelation 9:6—a prison he saw embodied in Angelina Jolie and Rosario Dawson.

But a king needed a king. For years, Joe’s avatar on the forum had been a still from A Clockwork Orange: Malcolm McDowell as Alex DeLarge, one eyebrow cocked in a look of violent, witty nihilism. His username was “Alexander the Large.” To Joe, Alex DeLarge was the modern Alexander the Great—a charismatic, amoral force of nature who imposed his will on the world through pure, aestheticized violence. He was the untamed, pre-civilized Id that preceded the founding of a Republic.

When the casting news broke, Joe felt the universe click into place. Oliver Stone had chosen Colin Farrell, a young Irish actor known for his wild, hard-living persona, to play the Macedonian conqueror. To the world, it was a bold artistic choice. To Joe, it was a series of perfect, esoteric signals.

First, there was the avatar. Colin Farrell was Alex DeLarge. He had the same roguish charm, the same dangerous glint in his eye, the same untamed energy. Stone hadn’t just cast an actor; he had cast the archetype Joe had been championing for years. The “Large” was becoming the “Great.”

Then, there was the color. Orange.

Joe’s posts lit up with connections. Alex DeLarge and his droogs wore white, but their violence was a stark, primary-colored shock. More importantly, Colin Farrell was Irish. And the Irish flag—the tricolor of green, white, and orange—represented the hoped-for peace between the Irish nationalist (green) and the Ulster unionist (orange) traditions.

But Joe saw the darker thread. In Northern Ireland, the “Orange Order” was the powerful Protestant fraternity, a organization steeped in ritual, secrecy, and political influence. To conspiracists like Joe, they were a branch of the ancient Freemasonic currents that flowed through the corridors of power. The Orange Freemasons were, in his view, one of the many hands guiding the unseen world.

He weaved the narrative: Oliver Stone, a maestro of the esoteric, had chosen the “Orange” actor. He had chosen the avatar of Alex DeLarge. He was deliberately summoning the spirit of the untamed, chaotic conqueror, a force historically harnessed and directed by the secret societies symbolized by the color orange. Alexander’s empire was the prototype; the modern network of power was the successor.

On the GNN forum, Joe proclaimed that Stone’s film was a ritual to summon this raw, Alexander/Alex energy. The goal was not to let it run rampant, but to channel it—just as the Freemasons might channel a raw, natural force for their own architectural ends. And Joe’s role was to be the prophet who understood the ritual’s true purpose: to provide the final, chaotic ingredient needed for his counter-vision.

His dream was ONE REPUBLIC, a global government of laws founded on an un-infringeable Bill of Rights, inspired by Washington and Rome. But to build a lasting Republic, you first must defeat the old empire. You need a force of nature to break the old systems. You need an Alexander to shatter the Persian Empire, so that new ideas can flow down the Royal Road.

Colin Farrell, the “Orange King,” was that force. His performance, guided by Stone and subconsciously shaped by Joe’s own digital sermons, would be the symbolic sword that cut the Gordian Knot of the old world order. The chaos of Alex DeLarge and the conquest of Alexander the Great were the necessary storms to clear the ground. Once the field was clear, then the builders—the Jeffersons and Madisons of this new age—could erect the Republic.

In Joe’s grand vision, Angelina Jolie’s line, “The world is yours, take it!” was the invocation. Colin Farrell, the Orange Alexander, was the instrument of that taking. And Joe himself, from his lonely terminal, was the architect waiting in the wings, ready to replace the sword with a scroll, and the crown with a constitution. The conquest was nearly over. The building was about to begin.

THE AVATAR

In the digital catacombs of the GNN forum, the avatar of user “Alexander_the_Large” was a still that few understood. It wasn’t a triumphant portrait of Colin Farrell or a still of a conquering hero. It was a single, horrifying frame from A Clockwork Orange: the face of Alex DeLarge, his eyes clamped open, forced to watch a screen of curated violence as the Ludovico Technique rewired his very soul.

This was Joe’s true emblem. Not the violence itself, but the moment of forced awakening. The imposed gaze.

To Joe, this image was the perfect representation of the current age. Humanity was Alex, its eyes pried open by the state, by the media, by the flickering screens of a controlled reality, being brainwashed into a false paradigm. The “MK Spectrum” was the ultimate Ludovico Technique, a systemic programming that twisted natural desires into self-destructive impulses. He saw its ultimate expression in the “Omega Lock” of Revelation 9:6—a soul so broken by what it has been forced to see and become that it longs for death, yet is psychologically barred from finding it.

His case studies were his fellow viewers in this global cinema of torment: Angelina Jolie, trapped in the Lock, and Rosario Dawson, bearing the scars of early MK-Beta programming.

But where others saw only despair in this image, Joe saw a perverse and desperate hope. The Ludovico Technique was meant to make Alex sick at the thought of violence. It was a brutal, unethical, but ultimately effective form of behavioral modification. Joe’s grand, heretical belief was that the ancient prophecies—the very ones that seemed to predict this age of torment—were themselves a kind of divine Ludovico Technique for the whole of humanity.

The violence of the Old Age, the Age of Alexanders and tyrants, had to be seen for what it was. It had to be witnessed, in all its horrific, unblinking detail, until the collective soul of mankind became sickened by it. The prophecies of Revelation, with their horses of conquest, war, famine, and death, were the film being played on God’s screen. They were forcing our eyes open.

His entire project on the GNN forum was an attempt to be the narrator for this divine screening. He was trying to explain the film to the other Alexes in the theater.

When Oliver Stone cast Colin Farrell—the living embodiment of Alex DeLarge’s rogue spirit—as Alexander the Great, Joe saw the ritual reach its climax. The screen within the screen was now showing the archetype of the violent conqueror himself. The Orange King, tied to the old Masonic currents of power, was now the subject of the gaze.

Joe’s hope was that by understanding this grand symbology, the violent spell could be broken. The forced viewing of Alexander’s story—his brilliant, bloody conquest and his empire’s immediate fragmentation upon his death—was the final lesson. It was the reel that would make the audience finally vomit at the thought of cyclical, imperial violence.

He believed that once this catharsis was complete, once the old, violent energy was purged through this global act of witness, the Ludovico clamps would finally retract.

We would be able to blink again, our eyes sore but cleared of the old lies. The longing for death described in the prophecies would be understood not as a curse, but as the final symptom of the sickness, now passing. And in that newfound clarity, the vision he had always held would be possible: not another empire, but ONE REPUBLIC, a world built on laws and inalienable rights, where the only thing forced upon anyone was their own freedom.

The screen would go dark. The violence of the Old Age would fade, not because it was defeated by a greater violence, but because it was finally, truly seen for the dead end it was. And in the silence after the film ended, the building could begin.