By Dan Thomas

The world is a stage and we are the actors, but our lines are being written by some other’s hand. We can do a bit of improvisation, make decisions that would seem to alter the script, and entertain our audience of notions in a performance most believable. So long as we’re content to play our roles the directors are pleased, the scriptwriters are pleased, and life continues as it always has. The show will include all the dramas and romance and tragedies and victories that we have come to expect, and even rely upon, to keep our minds and our senses ever engaged. That is, in a metaphor, what life is for many of us isn’t it? We accept the story we are given, for to not accept it leads only to complications. For most, to look too deeply at life only makes it confusing and depressing, for we feel it is far too complicated to figure out, and the problems are so great that are there is little, if anything, we can do about them anyway. Such an attitude is thought as normal . . . even reasonable, for who are we to dare question the professionals who guide us? It is only a few rare actors, the serious and the curious, who do dare defy such established ‘professionalism’, and seek to no longer be typecast. It is those few, in bold defiance of what we would like to think of as simple reality, which bravely ask some pressing questions about what is really going on. Fewer still are those who actually pursue answers once the questions are made, and yet even more rare are those who can find them. Yet, I wonder if such is right. I wonder if we too bare a responsibility for the course of our lives and the stage on which we live. So, in that spirit of wonder, let us now become one of those rare people . . . let us be bold and have a look for ourselves. I ask the questions: What is the plot? Who are the producers? What does this show mean, and how much will it cost us?

What is the plot? You can see this question from a variety of perspectives. For life in general I would say it’s an educational piece to cover topics such as morality, responsibility, and humanity but in the context of this article we have to look at it from a point of view of collective direction. We must also realize that the collective direction is orchestrated by the intent of the ‘world shapers’ – those whose power and influence steers society according to their wishes. With a basic analysis of our current ‘scene’ supplemented by a study of our history and the lessons, trends, and examples there in, I think we can get a fairly clear and general view of these elitist objectives. Put simply, those in power direct the plot to a scenario that not only allows them to keep that power, but also increase it. To do so, power must be gathered, or taken, from the social masses.

Who are the producers? Obviously, the producers are the power hungry elite and their social, economic, and religious institutions with which are used for their purpose, or plot. They are the owners and the directors behind any establishment whose influence alters or manipulates social structure, beliefs, and the ability of others to act against the script. Ask yourself who or what tries to define our realities for us, and whom or what do those given definitions serve? With virtually all of these cases you can see built a pyramidal structure of authority, a structure that by design allows the few to rule the many. These producers of the ‘film’ can be likened to the capstone of the pyramid, with each layer beneath becoming more broad and removed from the point of control . . . the point of control interpreted in all its many senses. Those at the bottom of this structure of authority are supposed to have little understanding and even less say on the course of life’s grand show; just say your lines and act your role and follow the director’s guidance. Whether your character lives or is consumed by monsters, prospers or is bankrupt by the master thief, sleeps or is sent to ‘do your duty’ in war . . . these are decisions not so made by your choices and merits but by how the producers with their writers and directors wish to use you for the drama or comedy of their plot.

So, what does this whole production mean? What I think this all means in essence is that we are facing various forces that seek omnipotence at the expense, or expenditure, of those of us deemed as ‘beneath’ them. It is a power play to resolve and make absolute that the progression of our lives in all its respects are to be dominated by what can only be described as megalomaniac sociopaths lacking much of the most basic wisdoms of essential humanity. It is a horror film that they are making, with themselves cast as both God and the Devil. We are intended to be and coached to play the nameless rabble of extras upon which their judgments fall and their ‘glory’ is built. Such a mentality, devoid of both moral quality and practical sense, inevitably brings the curtain down on the heads of everyone, including the producers. Their utter dependence on us is a dangerous, childish, and ironic debility that places on our shoulders the unnecessary and unfortunate burden of responsibility to their education. Being such poor students, born from a lineage plagued by continuous failures of most if not all human lessons, the task of their enlightenment is far from easy. This inbred inability, coupled with their wealth and fantasy of their greatness, just compounds the problem. In other words, we have a lot of work ahead of us.

Finally, there is the question of cost. What is this big-budget production costing us? I believe that such a figure cannot be tallied in dollars, rather should it be in sense, for no numbered bit of paper will ever equal the value of a person’s worth. The cost is nothing short of humanity . . . human lives and the vitality of compassion  . . . the cost is everyone, for madness has no temperance. If ever the foolish few could so endanger the innocent and the many to the point of living bankruptcy, then this is it. And so, with such an elitist debt being unacceptable, we are left with the option of paying the fees for cancellation of their show. A new show is to be made . . . a better show . . . a show with the plot of discovering our freedom and the tether of humanity that bonds us all. For this new show to justly manifest we all must see the lights of understanding, start the camera on a new perspective, and call ourselves into action. Study our roles in life that our characters may be perfected as best they can be. Write our scripts with care and responsibility, so that the stories we shall make will be of quality and substance. Together, by union of all the peoples of all the ‘studios’, we still can save the show.

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Inner-Tech by Dan Thomas

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