V FOR VENDETTA: Predictive Programming & a Vision of Britain…

One of the (many) weird things about the pandemic was, like 9/11, the element of predictive programming that seemed to become apparent.

Now I don’t necessarily subscribe to the popular view about predictive-programming in popular culture – specifically, the idea that agencies or conspirators deliberately input clues or coded statements of intent into popular movies or tv shows and the like.

I mean, that is possible; and in some specific cases it might be what happens.

But there’s always been a different possible explanation to me: which is more to do with human beings and the ability of the subconscious mind to pick up on things precognitively.

It’s always seemed possible to me that the reason, for example, there were so many apparent 9/11 foreshadowings in popular culture was because people were subconsciously tapping into the future.

I don’t want to go too much into that idea here, because it would be tangential to what this article is about: but it would relate vaguely to the idea of the Collective Unconscious or something like that, and our minds, on some level, having unconscious access to certain information or knowledge, including aspects of the future.

And that would explain why, for example, Neo’s passport in The Matrix expires on September 11th 2001 or why The Simpsons seemed to know that Donald Trump would be president some day, etc. It would also, in my view, explain much older anomalies; like the book Wreck of the Titan, which seemed to uncannily predict the sinking of the Titanic long in advance.

I’ve touched on this idea in an article before, which was somewhat exploring the nebulous dynamic between consciousness and reality.

In terms of the coronavirus pandemic, you might’ve seen some people online talking about the 1983 novel, The Eyes of Darkness, by Dean Koontz. In that book, apparently, a biological weapon called ‘Wuhan-400‘ is released, created in lab outside of Wuhan, China.

Which, coincidence or not, is pretty extraordinary: given especially that the COVID-19 crisis seemingly originated in Wuhan, China, – and, yes, there is the tell-tale bio lab in Wuhan, China.


Eyes of Darkness: Wuhan 400

Eyes of Darkness: Coronavirus


That’s pretty curious. People have also talked about films like Contagion (although a movie specifically about a pandemic and how quickly it spreads isn’t, in my opinion, ‘predictive programming’ as much as it is simply the subject matter of the screenplay). People have also picked up on smaller little curiosities, like the fact that the outbreak origin in the Resident Evil film franchise (which is about a virus being deliberately released from a lab) is ‘Racoon City’ – and ‘Racoon’ can be seen as an anagram of ‘corona’. Or the fact that the place of the character’s self-isolation in the animated film ‘Tangled’ is also called ‘corona’.

Some of this stuff is either simple coincidence or, as suggested earlier, some kind of unconscious precognition making its way into popular works.

I’d never heard of Koontz’s book, so that was news to me: though his novel’s apparent ‘prediction’ is pretty remarkable.

What *had* occurred to me as soon as the pandemic started, however, was the movie V For Vendetta and how it seems to resonate in regard to our current situation.

Unlike those other films, V For Vendetta is a movie I know very well – and it’s actually one of my favorite films of the 2000s.

And it’s worth noting that the 2006 film is particularly resonant already in terms of social impact and/or possible predictive programming: for example, the V mask has become pervasive since the film came out – being adopted and used by protest movements, as well as by Anonymous. In fact, the whole Anonymous movement – whether it was itself a psy-op or not – was based on V For Vendetta.

So famous has that image of that mask become that even people who don’t know the film or the comic book it was based on are nevertheless familiar with just the image and what it supposedly represents.


V for Vendetta: poster


All of that is to demonstrate how much the tropes in V For Vendetta have penetrated the culture and the mindset.

I watched V For Vendetta again during the lockdown, having not watched it for quite a few years. And it freshly occured to me how much predictive programming appears to be in that film. In the movie, a nationalistic Conservative government has seized power and established a dictatorship: a total Orwellian state.

More strikingly, in V For Vendetta, the event that allows the fascistic government to establish its full control and dictatorship is specifically a virus outbreak. A pandemic.

In the film, we’re told that the virus was essentially the final piece of the conspiracy puzzle to establish the lockdown and dictatorship, after several years of civil liberties already having been eroded via a war on terror and multiple acts of presumably false-flag terrorism.


V For Vendetta: COVID


But it’s interesting that it’s an engineered pandemic outbreak specifically that is shown to be the final catalyst for the police state: also in the film we’re shown that various parts of London and the country are under permanent quarrantine and lockdown; and things like the London Underground system are shut down and out-of-use. In fact, in the very first scene, Natalie Portman‘s character Evey is seen breaking curfew (and about to be sexually assaulted by the men whose job is to patrol the streets looking for rule-breakers).

The situation in the movie isn’t specifically referred to as ‘lockdown’ but as ‘curfew’. But essentially it is martial law.

And it’s worth noting that plans for a martial law style lockdown in the UK weren’t even specific to the COVID outbreak: as I will be discussing in an article very shortly, the UK government already had lockdown-style plans for the event of a No-Deal Brexit.

As COVID showed us, the government – and any government, really – has the ability to put us into lockdown pretty much in the blink of an eye: so long as it has a workable pretext for doing so.

In 2020/21, our lockdown ended up being temporary: in V For Vendetta, the implication is that the lockdown simply never ended, but merely evolved into a permanent state of martial law.

V For Vendetta does seem to be a very predictive film in particular.

While the War on Terror is certainly referenced the most (which was already going on at the time the film was produced), the engineered virus outbreak is clearly the central part of the plot’s conspiracy.

More extraordinary, the film, though released in 2006, *is actually set in 2020 specifically*: though the creative figures behind the production have been clear about saying this is just a strange coincidence.

While the movie is UK-based, it seems to capture – in an almost off-hand way – the 2020ish vibe very well: it references America being in a Civil War, for example. Ok, so the US isn’t technically in a Civil War – but it’s in something very much like it on a cultural and social level (and in fact, it came very close to inciting a real Civil War back in January with Trump’s antics and the Capitol Riot).

Filmmakers back in 2005 shouldn’t really have been able to predict this situation fifteen years ahead of time.

In terms of the extreme nationalist government in the UK in V For Vendetta, while it is obviously more extreme and exaggerated than anything we have right now in the real world, there is certainly an implied separation from Europe – by the very nature of a nationalist state. In fact, the police state’s frequently repeated mantra – “England Prevails!” – sounds like it would make a suitable slogan for some of the more extreme Brexit zealots.


John Hurt in V For Vendetta


I can easily picture Nigel Farage, Liz Truss or Suella Braverman declaring ‘England Prevails!”

So, in this respect too, we might have a case of predictive programming.

In regard to Brexit being foreshadowed in popular culture, I’m pretty sure I’ve mentioned somewhere before that the the day of the EU Referendum vote in the UK in 2016, London was pockmarked by movie posters for Independence Day: Resurgence – and the poster showed various London landmarks in ruin, including Parliament. That always struck me as highly curious – especially when Nigel Farage, the next day, celebrated the result with his “This is our independence day” speech.

But getting back to V: it was only in this latest, most recent viewing that I actually realised there was another bit of predictive programming in the film that I hadn’t noticed before: specifically, the film makes reference to the War in Syria.

Bear in mind that the film came out in 2006 and the War in Syria didn’t kick off until 2012. But there’s a scene where the police detective is verbally connecting all the dots of the conspiracy, and in it he mentions the fighting in Syria.

Which, again, is interesting. Because how did anyone working on that film in 2005 know that there would be a war in Syria in the near future? In that specific dialogue, the detective actually says that the character in question had been in Syria “both before and after” – again, indicating “before and after” some catastrophe had befallen Syria.

People have picked up on the predictive elements in V For Vendetta before: but I’ve never noticed anyone pick up on this smaller detail: probably because it’s a blink-and-you-miss-it reference buried in a long dialogue scene. But I actually think it’s the most striking bit of apparent predictive programming in the whole film – “Syria, before and after” is such a specific bit of apparent prophecy.

The film also touches on things like Islamophobia, mass censorship, thought control, as well as public loss of trust in the media: though some of this was probably already happening at the time of the film’s production, with the War on Terror going on.

But, given these curious details in the movie, you naturally have to wonder about the specific detail of a pandemic crisis being used to usher in a police state dictatorship: and whether this too was foreseeing or predicting the future.

As I’ve noted elsewhere, so much of what’s going on right now can be seen to look like creeping police-state conditions and loss of civil liberties: and with the two most striking cultural reference points being – at least to me – V For Vendetta and George Orwell’s 1984. It’s not just the business of police engaging in across-the-board population control (as was the case in much of 2020: and Australia’s scenario was even worse than the UK’s); but even things like websites being set up specifically to allow citizens’ to spy on or report on the activities of their neighbours or members of their community: for example, to report anyone seen to be disobeying curfew rules, etc.

That stuff literally was happening during 2020 and the lockdowns. And it was very, very 1984 in character.

Interestingly, the film version of 1984 starred the late, great John Hurt in the main role (as shown below): which was why Hurt was featured prominently in the Wachowksi’s film adaptation of V For Vendetta: albeit this time as the dictator in charge of the fascist and Orwellian government.

Clearly, the creatives involved in this saw 1984 and V For Vendetta as being deeply linked: except this time Hurt was playing the fascist dictator and not the protagonist.


John Hurt in the film 1984


As a side-note, V For Vendetta was banned in China as of August 2020 – several months into the coronavirus pandemic. Similarly, as discussed here a few years ago, Orwell’s 1984 was also banned in China quite recently.

I guess the CCP is worried about those kinds of stories and their messaging being allowed to filter through to the Chinese citizenry.

Is is worth noting that V For Vendetta was made by the Wachowski brothers: and that the Wachowski brothers also made The Matrix movies – which is another property, especially the first Matrix film in 1999, that has had a deep cultural impact into the popular mindset and also is seen to have featured various items of predictive programming.

The most extraordinary item of apparent predictive programming in The Matrix was the fact that Neo’s passport was shown to expire on September 11th 2001 – the date of the 9/11 attack.


The Matrix: Neo's passport says 9/11


And The Matrix was released in 1999 – two years before 9/11. So the Wachowskis have form in this area: and while The Matrix can be seen, among other things, to foreshadow 9/11 (as well as the creeping sense of artificiality and simulation that has characterised our lives more and more since the film came out), V For Vendetta can be seen to foreshadow both the mass pandemic crisis: and, apparently, a subsequent loss of liberty.

And, again, while there are a whole bunch of other movies and popular-culture references that seem to fall into this category too, the V For Vendetta connection is especially striking, because it’s a film about the use of an engineered pandemic as a means of social control and ultimately the move into a police-state dictatorship.

Given the events of the last few years, that’s kind of worrying. Especially because it’s also a film about an extreme nationalist government in the UK.

In fairness, the present government in the UK isn’t anything like as extreme or far-right as the one in the movie. But, when you watch people like Liz Truss, Pritti Patel and others, you realise we’re not too far away from something like it.

And we do currently have a Conservative government (just like in the film) that not only brought in the draconian Snooper’s Charter and the anti-whistle-blower laws, etc, but is now openly talking about outlawing all forms of public protest. And, as I pointed out in an article from a few years ago, all the pieces were already being quietly moved into place for a police state scenario long before COVID: including with things like the Secret Courts.

Something very similar to V For Vendetta‘s vision of the future (or the *present*: our present is the ‘future’ the story was envisioning years ago – the film is set in the year 2020) seems to have been our direction of travel all along.

And, if our real-world trajectory continues to parallel Alan Moore’s iconic comic book or the Wachowski’s film adaptation… well, then we’re all fucked.


ORSON WELLES & ‘CITIZEN KANE’: Seeking a Multi-Level Understanding of a Masterpiece…

S. Awan

Independent journalist. Pariah. Believer in human rights, human dignity and liberty. Musician. Substandard Jedi. All-round failure. And future ghost.


  1. I read your article.

    Then I went back to work and all along this time I was thinking about what you had written. And, I was thinking why don’t you tell him what bothers you (a little), just to open the door to another way of seeing things. But in my head, I wrote almost three pages to try to explain to you what I would like you to grasp. lol

    I could leave clues because you are smart and intelligent but your profile tells me that you could misinterpret it because you did not received with your educational and social programming what I will have share. Yet what I might share is not bad in itself.

    So I’m just going to write in predicative programming there’s the word ‘program’.

    And, the rest, I hope time and people of common sense will push the good way (Normally that’s what was intended).

    Sometimes we have to censor ourselves because we can’t say everything and we don’t want to lose people who have a good heart; and, which we need for humanity to continue to move in the right direction and others will do more and better again.

    Basically, even if we are all a little different, we can be complementary even without knowing it.

    And, I don’t even know if you’ll understand what I just wrote. lol

    But there are things, I’m ok with you.

    Bless y

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