Brett's Notes on The Menu

Background

Producer Adam McKay did a podcast series on the Epstein case, which is significant given the Epstein undercurrents mentioned below.

His most recent directorial effort is Don’t Look Up, an anti-human climate change film featuring a cast of illustrious Hollywood shills.

He was also involved with the production of a recent HBO series Q: Into the Storm, and did a podcast series on Epstein. I have not seen either, but I smell psyop surgery.

He also recently executive produced Motherland: Fort Salem, about witches working for the US military (Satanic theta programming and sonic warfare themes).

Producer Will Ferrell, who frequently collaborates with McKay, is in the Monarch/Illuminati Zoolander films.

The director and writers (who work for The Onion) are apparently connected to McKay and Ferrell through the comedy scene.

Themes

Everything about this project points to the story as an allegory for elite (Illuminati) initiation.

The implied sinister spin on food in this context immediately suggests “spirit cooking” (cannibalism or mock cannibalism as an occult “culinary” exercise).

The suicide cult theme resonates with decadent, anti-human elites obsessed with death and repressing/projecting their own death wish. It’s also just a morbid, extreme version of their obsession with traumatic initiation, which involves the fear of death at a minimum.

All of this dovetails with the class politics angle of the movie, as the cult of culinary plebeians functions to weed out the bad apples of the superclass while selecting the best.

In his monologue for one of the first courses, chef says they are eating “entire ecosystems,” “the ocean”; that is, they are consuming the world. This apparent critique of elite overconsumption and insatiable greed is reinforced by the obvious class politics that emerge. Remember, though, that Chef, in this same speech, also declares the sovereign omnipotence of nature, in comparison with which even the superelite are insignificant. Evidently the superelite need their cultists to remind them of their Satanic values from time to time and to promote a healthy degree of social mobility.

The Initiation

The purpose of the initiation, I believe, is to weed out the weaklings from the superclass (see section on Anya below).

The restaurant is located on an island, evoking Epstein Island, with its golden dome and Babylonian design (see above on Adam McKay). They used the shore for Jekyll Island in Georgia, which is where the Federal Reserve was created.

The island is run by a cult presided over by Chef, who is a product of childhood trauma and has affirmed his trauma to the point that he no longer feels physical pain.

Note that the cult has dirt on the superclass (hence the blackmail pictures on the tortillas).

It’s also remarkable that they’ve infiltrated the coast guard and who knows what other levers of power. This could not be done by just a group of plebeian cultists. They are functioning at the behest of and in the service of the superclass, performing initiation rituals to weed out the weak ones and select the super predators.

The fear of death is a key ingredient in Illuminati-style initiation rituals.

The cannibalism/ritual abuse/spirit cooking subtext is reinforced very early on, where the middle-aged blonde woman says of one of the first courses, “Did you taste the little goat at the end, the little kid?”

One of the cooks has a one-eye tattoo on his wrist, featured prominently in one shot.

Chef is framed in at least a few shots in front of a triangle or pyramid(the window behind him), with his head at the pinnacle.

They are given “no bread,” since that is for the common man. Chef specifically mentions Jesus, alluding to the Mystical Supper. So we are dealing with an anti-spiritual initiation, a “counter-initiation,” as Charles Upton calls it (religious inversion). Another indication that this is a counter-initiation comes during one of the early courses, when Anya describes the food as “pond scum”: if this culinary experience is really an initiation, part of its function is the get the initiates to accept degradation and degeneracy as holy. This is also a function of much high art, and conceptually this movie fuses high art, elite foodiness, and the counter-initiation.

The scene where the men are given a head start to run and be hunted hearkens not just to an endless number of films that play on the “Most Dangerous Game” tropebut also to (a) the alleged elite rituals/recreations of this sort (maybe mention the evidence against Hunter S. Thompson on this score) and (b) the alleged you-can-run-but-you-can’t-hide programming enacted to convince Monarch slaves that there is no escape.

One of the cooks, a member of the cult, committed suicide before the fourth course. With Tyler’s suicide, though, I think there is an even stronger suggestion that Chef knows the secrets of omega programming and twilight language. Tyler was the low-hanging fruit, to be sure, since he lacked any real sense of self worth (and the movie makes us think he doesn’t deserve any) and was prepared to die already. But it’s remarkable how quickly and easily Chef is able to induce him to commit suicide, simply by setting him up for a culinary failure and then whispering a few words into his ear.

With the mass suicide, “smore” scene, there is a clear invocation not only of Jim Jones[1]but of Waco (fire is the key ingredient, as Chef explains). The Peoples Temple was almost certainly a high-level intelligence operation, and the mass suicide was more of a mass homicide. The same is true of Waco: infrared evidence points to the FBI as the source of the conflagration. There are almost no real-world examples of mass suicide by fire. The Order of the Solar Temple suicides in the 90s were, like Jonestown, partly coerced, even if a few people died willingly by fire. The Menu subtly reinforces the official narrative on Waco.

The guests are “the dessert”—so, spirit cooking. The idea of consuming oneself, which I think is a travesty of the Eucharist (since we, in a real sense, are the Body of Christ that we are consuming), shows up in this spirit cooking register in a scene in Nightmare on Elm Street 5: The Dream Child, where the future Ford model is killed by Freddy. From my Monarch 6 episode:

The 5th film, The Dream Child, from 1989, has about the most blatant Monarch use of porcelain dolls that you’ll ever see. One of the girls in the group is an aspiring model—her mom mentions Eileen Ford, co-founder of Ford models, by name—and her room is chock full of porcelain dolls, like Dakota Fanning’s room in Hide and Seek, the first film we analyzed for the Monarch series. There are, of course, the obligatory shots of porcelain dolls shattering, but even more blatant is how, after Freddy kills her and takes her soul, she becomes a porcelain doll, in other words, a Monarch slave, and then is shattered by Freddy, symbolizing her psychic destruction. Another over-the-top Monarch hangout scene has her eating a doll version of herself which is laid out on a platter, a la Marina Abramovic spirit cooking.

Anya Taylor-Joy Character

Anya, as usual, has multiple identities, and she is a plaything (a prostitute) of the superclass.

The multiple identity angle, I think, is a hidden key to the meaning of the story/initiation. She is not who she appears to be. She really is hungry, and she survives through a combination of guile and violence—just the kind of psychopath who truly deserves to be in the superclass and hence who can pass the initiation.

Chef notices that she’s out of place, that she’s “not hungry,” apparently not one of the superclass. She claims to be someone named Margot from “Nebraska. Given Anya’s Monarch credentials—and the fact that there’s an emerald green light in the background of the scene where this information is revealed—does invoke The Wizard of Oz: the ingenue from Middle America who has wandered into the dark castle of the superclass.

But she reveals to the women (while the men are being hunted down and brought back) that her real name is Erin and that she’s from Massachusetts.

[1]Note that Leo DiCaprio is listed on imdb as playing Jim Jones in an upcoming film about Jonestown.