April 7, 2009

Hollywood-- Covert Agent of Change

In Stanley Kubrick's film, 2001: A Space Odyssey, NASA discovers a mysterious black monolith, obviously intelligently designed, buried a few feet beneath the lunar surface. The monolith is a device left there millions of years ago waiting to be discovered by us when we are finally advanced enough to find our way to the moon. According to Hoagland, Stanley Kubrick's fable is the real history of NASA.

Oddly enough, it also appears that Stanley Kubrick is trying to tell us about the end of our Age in his masterpiece film 2001: A Space Odyssey. The Starchild at the end of the film has passed through the Star Gate of the black monolith and is returning to Earth to create a new world or a new Age...
(see Alchemical Kubrick: 2001: The Great Work on Film at jayweidner.com)

A very curious thing has been unfolding over the past 30 years or so, maybe longer. Despite the advent, then ubiquity, of television, followed by the appearance and popularity of computers and the Internet, one of the original technologies of the ‘modern age’ (say from 1900 onwards) has managed to retain its premier status as an entertainment medium. Yes, I’m talking about the ‘motion picture industry.’ We used to call the product ‘films’ because of the method (celluloid film reels) used to record and show them. In the digital age, film is rapidly being displaced by discs and solid-state devices, but the name ‘movies’ is still appropriate. Altho movies can be made anywhere, the original center of the industry, the Mecca of moviedom, has remained Hollywood, California.

Fans, critics, and others like to classify motion pictures into various groupings. To an objective observer who has watched movies of all kinds over the years, Hollywood’s products can be categorized in a simple but disturbing way. This is how I sort them.

The largest category, comprising the majority of films, falls in the ‘Trojan Horse group.’ They look attractive, get our attention, and we either go to see them in a theatre, or we take them into our homes to watch them on tapes or discs. However entertaining these movies are, though, they carry an insidious and corrosive germ. What they are doing in a subtle way (and often blatantly) is undermining the foundations of our society. Yes-- it is that serious! A great many of these ‘flicks’ depict humanity at its worst-- after all, it is argued, that’s what makes for ‘compelling drama.’ And so we see this endless parade of insane car chases, horrific crashes, explosions galore, interwoven with human treachery of every kind, with ever-bolder depictions of violence, blood, and death. All of it presented as if we are watching actual events compressed into a couple of hours. Remember, you are usually watching a large screen, with loud, surround sound, and Technicolor close-ups; the combined effect on the human neurological system is jarring, and the cumulative effect over the years on the views and mores of the viewing public is profound.

Cinema has portrayed real-world moral ambiguity and relativism for many decades; but there was almost always the tacit impression that, in the end, both protagonists and antagonists were subject to the golden rule, reaping what they sowed. Somewhere during the past 25 or so years, that changed, and in some movies you could hardly distinguish the ‘good guys’ from the baddies. Today’s audiences can come away from a film with no appreciation of moral consequences, and sometimes even admiration for characters culpable of all kinds of crimes. In the worst case, the perpetrators of crime or immoral behavior come across as heroes and inverted role models for certain puerile viewers.

Included in this category, and among the worst offenders, are the comedies. Why? Because almost any perversion of values can be lampooned and exaggerated under the guise of comedy. Anyone who objects is denounced as having no sense of humor (as if that is an indictable offence). Furthermore, most comedies-- even ‘sophisticated’ ones-- can secure a general audience rating, thus ensuring that their trashy themes will be viewed by the impressionable minds of adolescent and younger viewers. In this way, the producers of these Trojan Horse movies can disseminate their nasty mind-viruses with maximum impact on the innocent populace. (Without analyzing several examples here, I refer readers to an insightful essay by Henry Makow that he wrote following the release of the movie ‘Knocked Up,’ in 2007.) And note that the same argument of ‘artistic license’ is invoked to justify all movies in this genre (that I call Trojan Horse) regardless of the depth of depravity that they may ‘explore.’ The producers and directors of these subversive movies will argue that their creations are merely being ‘realistic,’ and reflect the current state of society such as it is. My response is that their films are really opinion leaders, and continually push the envelope on what is acceptable in terms of propriety and morality. Moreover, I find the argument about realism quite specious; after all, do we really need to see the intimate details of sexual intercourse to understand what could easily be (and formerly was) implied? Do we need to see bullets in slow motion tearing their way thru human flesh and bone, with blood splattering like bug juice? There may be rare times when such details do achieve some higher purpose (such as demonstrating the brutality of war or murder) but inevitably, what starts as art ends up as the crassest cliché.

In this brief space, I don’t want to critique any specific movies. My point is that once you open your mesmerized eyes to the true messages behind the Hollywood propaganda machine, you will find a flood of mind-conditioning designed to demoralize and destroy the people who watch this stuff (which is most of us). While a given individual, for a limited time, may be capable of resisting the hypnotic suggestions of cinema, the collective effect over many years, over entire societies, has proven disastrously effective. Even while Hollywood denies its products corrupt society, police often express dread that some mentally unstable person somewhere will try to imitate the latest example of movie madness that involves violence portrayed in Technicolor goriness. By the same token, whole segments of society come to accept certain foundational beliefs thru this cunning process, with little critical analysis. Where perceptive and credible voices once expressed reservations with cinematic perversions, the perpetrators simply resorted to proven subterfuges. The industry magnanimously agreed to a self-regulated ratings system, and by stacking the boards, over time, with ‘open-minded’ minions, they were able to continue their corrosive game with minimum interruption.

Even the timing of the release of movies is calculated for premeditated impact. For example, during the bleak Bush years, when US misfortunes in Iraq were becoming obvious, voila-- Hollywood releases Pearl Harbor, an epic tale of the righteousness and invincibility of the American military and its heroes. In a subtler vein, the movie ‘300’ could be interpreted as a reflection of the US army standing up against the hordes of Arab/Islamic terrorists/nations.

The second big category of Hollywood films is comprised of the ‘prophetic’ movies. To clarify, a prophet of old was not someone who just made predictions of the future; he was primarily a messenger of God, a divine spokesman who informed the masses about God’s intentions. In a similar but counterfeit manner, these movies reveal certain messages that their producers and hidden sponsors want the viewers to see. These messages are of two general types: those that present ersatz predictions of events to come, and those that reveal actual workings of the hidden conspiracy-- thus blatantly flaunting their schemes and modus operandi in our faces (e.g. The International).

The ones in the former sub-class serve a purpose which is to ‘telegraph’ the intentions of the hidden masters, but in a way that affords negligible risk of being taken seriously. In this way, they are presenting ostensible ‘predictions’ (prophecies) that are not truly prophetic. They appear to predict only because the conspirators make them happen as scripted; thus, they counterfeit God’s true prophecies. For example; prior to ‘9-11-2001,’ an episode of ‘X-Files’ presented an almost identical plot, of a high-jacked airliner, under remote control, carrying innocent occupants towards a sky-scraper in New York. Just coincidence, you say? It’s said that ‘art imitates life’... but not that art predicts life. The Stanley Kubrick flick, ‘2001, A Space Odyssey,’ is another notable, encrypted hint at future events and revelations.

More recently, these movies have been frequently of the summer ‘blockbuster’ type, usually ‘disaster flicks’ of various kinds, depicting Earth being assaulted by a natural calamity (e.g. Day After Tomorrow, Deep Impact, etc.) or by an invasion of extra-terrestrials (ET, Independence Day, Close Encounters, War of the Worlds, etc.). Even the made-for-TV movies have shown a distinct predilection for catastrophes of all kinds, from mega-earthquakes, to volcanoes, to tsunamis, and so on. My thesis (which is shared by numerous other pundits) is that these movies are deliberately programming viewers’ minds in preparation for two things: (1) a great, world-wide calamity of some kind, and (2) some kind of ‘disclosure’ of the presence of alien life on Earth.

Again by way of counterfeiting the second aspect of true prophecy, one movie (or series, as it turned out) is emblematic. In the Matrix collection, we gradually discover that the world being depicted is, in actuality, entirely virtual-- i.e. it exists as a kind of collective dream or program of the population who are really installed as nodes in a gargantuan cyber network. The hero is invited to ‘unplug’ from the Matrix, the cyber world. In doing so, he must face the virtual overseers who want to keep everyone under the electronic spell. The whole scenario is cleverly illustrative of the modern world of the 21st century. We, the people, toil and frolic in what we believe to be a free society where we have ‘rights,’ and opinions, and so on. In fact, we have been conditioned from birth to believe what the elite want us to believe, and the truth is that if we really attempt to disengage from this system, the authorities quickly put an end to that rebellion. Our freedoms are fragile, and under constant erosion by authoritarian forces using fear of crime and terrorism as their pretexts to impose ever-more restrictions on us. Certain individuals who refuse to toe the line after clear threats most often end up having fatal ‘accidents,’ or mysteriously committing ‘suicide,’ or meeting other violent ends. In effect, the Earth has become a giant, hypnotic Matrix in which the vast majority lives under common, mythical illusions; but behind the illusion lies the reality of a small cadre of controllers who pull the strings of history and are propelling us towards their desired totalitarian, neo-feudal world order.

The use of motion pictures to act as their oracle or prophetic voice is a powerful strategy by the secret cabal. After about a century as a focus of culture and entertainment throughout the world, cinema has a very wide and devoted audience, and exerts a dominant influence over public thinking and perception. By presenting their messages as entertainment-- i.e. fiction-- the puppeteers gain an easy entrance into our psyche, since we watch to be entertained, hardly expecting to be indoctrinated... even if we ‘know’ that movies were a prime means of propaganda by the Nazi regime. What most of us miss is the subtle underlying themes that connect even unrelated movies into a conspiratorial matrix. In case you are still uncertain, those themes include the following dominant messages: that there is no God-- each of us is (a part of) God; most people, especially thinking people, are atheists; since there’s no God, there’s no Devil, either; science has all the answers to questions that concern us... or it soon will; there are no moral absolutes, it’s every person’s interpretation; in sex and relationships, all the old values are gone; the most important thing in life is to garner all the wealth, power, and prestige you can, using any means possible; and in general, anything goes, as long as you can find a plausible pretext. Regardless of education, most people are not capable of discerning those destructive ideas as they are being transmitted into our cerebral cortex. In fact, the movies are an integral part of our ‘education’ in the ways of the new world order. Many readers will reject my thesis out of hand as being reactionary and opposed to ‘progress.’ If we are making progress, I would ask, then why is the world getting worse by practically every measure? And if you don’t even accept that assertion, I have to wonder if you bother watching more than the sports and entertainment news. The world is not going to hell for no reason-- it is a calculated, coordinated strategy... and we are all participants, willing or otherwise.

Now, to deal with the doubters and objectors... Am I saying that all movies emanating from Hollywood are orchestrated by a secret gang for their purposes? Basically, yes! Are all movie producers and directors, therefore, members of some subversive organization that coordinates this collusion? Not exactly. What you have to appreciate, however, is that it’s not necessary for the hidden masters to own or run all of the productions in order to exert their influence. By using the power of their money, the manipulators are guaranteed a strong say in any movie they bankroll. Just as the concerns over slumping morals were easy to maneuver around, so too, it is really quite easy for the conspiracy to selectively promote or stifle any production that suits, or doesn’t suit, their objectives. And in case ‘indirect influence’ is too unreliable for their likes, it bears noting that for years now, all the major studios in Hollywood are owned and controlled by Jews. What are the odds of that happening purely by chance, when Jews represent 2.4% of the overall US population? The values that have been under constant attack for the past decades are precisely the ‘Christian values’ of previous generations of Americans. Is it all a coincidence? Note: this is not saying that all Jews are anti-Christian, or Zionists-- not at all. But the fact is that Zionists come primarily from the ranks of Jews, who, by their own admission, essentially run Hollywood. (See recent articles by Michael Medved, for example.)

With the use of the Internet, a growing number of people is starting to wake up and realize the nature of modern existence and the influence of the Zionist Matrix. But the ‘wake-up’ sites cannot present the enquiring mind with a simple package of all truth in one easily digested capsule. It is still up to every awakening soul to seek diligently for him/her-self, and to piece the puzzle together in a way that resonates with their own soul. My aim is just to wake people from their unnoticed slumber, to show them the Matrix, and to invite them to start unplugging their minds... while there is yet time.

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