1999

1999 is significant in the book because it identifies the publication context in which David Icke gave his reptilian conspiracy theory one of its fullest formulations. In The Biggest Secret, he presents the Babylonian Brotherhood not as a metaphorical cabal but as a hidden lineage of non-human beings whose ancestry, subterranean dwelling places, mythological identities, and political ambitions are fused into a single account of human history.

The Biggest Secret and the Brotherhood

In The Biggest Secret, Icke identified the Brotherhood as descendants of reptilians from the constellation Draco who live in caverns inside the Earth. The theory therefore joins extraterrestrial ancestry to an underground geography: the beings are simultaneously cosmic in origin and concealed beneath the human world. Their hidden location gives the conspiracy a spatial structure, turning ordinary history into the visible surface of a secret civilization.

Icke also connected these beings to several ancient and religious traditions. He treated them as the deities known as the Anunnaki in the Babylonian creation myth Enûma Eliš, and as the fallen angels called the Watchers, who in Biblical apocrypha mated with human women. The theory thus constructs a continuous genealogy across mythology, religion, and alleged extraterrestrial intervention. Ancient stories become fragments of one recurring explanation for the mingling of human and non-human bloodlines.

Political and Technological Threat

At the center of Icke’s theory is the claim that many prominent figures belong to the Babylonian Brotherhood, described as shapeshifting reptilian humanoids. According to this account, the group is propelling humanity toward a global fascist state, identified with the New World Order. The conspiracy consequently converts political domination into an alien project: power is not merely concentrated among human elites but directed by an ancient, concealed species.

The theory extends beyond secret leadership to the structure of perception itself. Icke argued that the reptilians use the rings of Saturn and the Moon, both described as reptilian constructs, to broadcast humanity’s “five-sense prison”—an artificial sense of self and the world that humans perceive as reality. The alleged machinery of control therefore operates through consciousness as well as government. What appears to be common reality is recast as an imposed perceptual enclosure.

Shapeshifting and Hybrid Origins

Icke’s account depends on the idea that humanity has been genetically manipulated by a hybrid race of human-extraterrestrial reptilians. In interview remarks reported alongside the theory, he described a recurring ancient-world theme in which a non-human race joins with humans and creates a hybrid race. This framing gives the conspiracy a biological mechanism: hidden power is explained through inherited transformation rather than only through political conspiracy.

He further said that, beginning in 1998, he encountered people who claimed to have seen humans change into non-human forms. He associated these reports with the ancient phenomenon of shapeshifting and described its basic form as a scaly humanoid with reptilian rather than humanoid eyes. The detail supplies the theory with a recognizable body: the supposed infiltrator can appear human, yet the transformation exposes scales and alien eyes as signs of an underlying identity.

Relation to They Live

The book presents They Live as one of the most important films of the previous few decades and as a work whose themes anticipated those later associated with The Matrix. The film is described as providing Icke’s entire schtick, and Icke reportedly went so far as to describe it as a documentary rather than a movie. In this connection, 1999 does not stand alone as a publication date; it belongs to a wider cultural pattern in which cinema, conspiracy theory, and claims about hidden reality reinforce one another.

The relationship between They Live and Icke’s theory is especially clear in the shared premise that everyday reality conceals an oppressive order visible only through a change in perception. The film functions in the book as a cultural precursor or visual template for Icke’s account, while The Biggest Secret gives that template an elaborate mythology involving Draco, the Anunnaki, the Watchers, hybridization, shapeshifting, Saturn, and the Moon. The year 1999 therefore marks not merely a date but a moment when scattered motifs of hidden rulers and manufactured reality were assembled into a comprehensive cosmological narrative.