The Ring 2 (2005) Hideo Nikata
The real horror of The Ring 2 is the disturbing ritual abuse programming that runs throughout the film. It is your standard ghost/possession film, but there are distinct mind-fracturing components that recall Satanic Ritual Abuse and trauma that can result in multiple personality disorder and the creation of alter personalities —hallmarks of MK Ultra and other mind control programming.
It’s a testament to the rampant real world practice of ritual abuse that it is seen so often in cinema. It’s purpose, of course, is to normalize the practice when viewed by those who have been traumatized and to equate torture with love and necessity. Exposure to visuals like the ones in this film also have the ability to be seen as less significant to any impressionable person who might hear stories about it in their actual experiences. In creating a mind controlled slave, there is an early childhood process where the child is showered with love then painfully deprived of it. This technique is seen repeatedly here with the mother alternating between expressions of love, abandonment and trying to drown her young boy. This nasty little movie even shows its support for pedophilia when the mother asks her son if he wants her to get in the tub with him, leaving us with subconscious imprints that bathing with a child should be associated with care and concern for the child.
Forget the plotline and the ‘reasons’ why these bizarre activities occur, they’re not there to serve as plot devices, they’re there to enforce negative and inappropriate behavior. We know the boy is supposed to represent someone with alter personalities because he calls his mother by her first name as if he is not related to her; and he alternates between being a boy and the girl he is possessed by.
There is also a heavy dose of planetary symbolism running throughout, giving the film a decidedly occult flavor. We see Saturn and stars on the boy’s window and bed sheets, a lamp shaped like Saturn, twin girls that represent Gemini with stars and moon face paintings, and even the ring of the title is depicted as a crescent moon which we see again in the film’s final shot. It’s as if the entire movie is an occult ritual with built-in planetary correspondences to reinforce the dark magic being perpetrated on the viewer.
This review first appeared in the print version of Victims of Cinema. The first 50 reviews can be obtained HERE.