‘The speedy, steady slide of the arts into total degeneracy as a form of weaponized chaos descends like lightning speed in the West. This devolution and digression into post-post-modern non-meaning and madness is pre-eminently exemplified in the latest from Danish director Nicolas Winding Refn, of Drive (2011) fame. Refn’s Neon Demon is basically Mulholland Drive taken to the next level of depravity, and revamped from the rapacious world of Hollywood to high fashion.

Since these two worlds often overlap, Refn’s film is a window into the fact that Madison Avenue and its bourgeoisie, globo-decadence and anti-aesthetic are social engineering tools as much as Hollywood. (This connection is likely, given Refn’s obvious Lynchian influence in his incoherent 2013 film, Only God Forgives).’

Read more: Cannibal Culture: Neon Demon (2016) Esoteric Analysis

‘The immensely popular series Stranger Things puts in the forefront of popular culture the disturbing world of MKULTRA, mixed with a heavy those of fantasy and science fiction. Through its story and symbolism, the series tell a deeper truth about its subject matter, one that not many might believe or accept. We’ll look at the deeper meaning of Stranger Things.’

Read more: The True Story and the Hidden Symbolism Behind ‘Stranger Things’

‘The last Star Trek reboot saw Benedict Cumberbatch as Kahn, the berserk super soldier who was angry about the “Federation” doing some such nefarious thing to his people group. This installment included curious references to false flags which I detailed here.

Before that, in the initial reboot, there was an angry alien who attacked the Federation over his tribal group being shat upon (or, Shatnered upon!).

So, for the third time in a row, we have roughly the same plot of dispossessed discontent tribalists and unique people groups who become terrorists when their way of life is encroached upon by the United Nations, er, NATO, er, New World Order, er…Federation.’

Read more: Propaganda: Star Trek Beyond – Social Justice Warriors in Space

‘Jay Dyer’s lecture from the 2015 Secret Space Program conference, focusing on Hollywood symbolism, predictive programming and mass terror events, depopulation and the breakaway civilization’s suppressed technology and plans as revealed in film.’

Source

‘A hyper-real vision of America serves as a stark backdrop for Hollywood’s social science fiction horror film, The Purge: Election Year.

The Purge: Election Year (2016) is the third installment of the ‘Purge’ film franchise, arriving on screen just in time for the hotly contested 2016 presidential election between presumptive nominees Donald Trump and Hillary Clinton.

The film’s recent release also hit theaters prior to a wave of bizarre shootings and street protests now gripping the nation, something which we’ll discuss in greater detail later on in this article.’

Read more: Scars and Strife: ‘The Purge Election Year’ Agitprop, Change Agents & False Left–Right Statecraft

“Jay Dyer joins us for this episode where we analyse the 2009 comedy The Men Who Stare at Goats, loosely based on Jon Ronson’s book of the same name. It tells the story of a journalist who is inducted into the world of psychic soldiers during the Iraq war.

The movie goes on to explain some of the history behind the First Earth Battalion, an experimental Pentagon unit devoted to developing a new generation of super soldier informed by the hippy and New Age movements. We examine what the film leaves out, especially in the form of MKULTRA and similar CIA projects and experiments with similar aims, and ask whether the purpose was not to explore ‘How could love and peace help win wars?‘ but to weaponise New Age philosophy and the New Age movement.’

Listen here …

Read more: Esoteric Hollywood: The Truth Behind Men Who Stare at Goats

‘An amendment added to Congress’ annual intelligence spending bill may help the public gain a better idea of the U.S. government’s relationship with Hollywood.

According to VICE News, the ranking Democrat on the Senate Intelligence Committee, Senator Dianne Feinstein (D-CA), and committee Chairman Richard Burr (R-NC), included an amendment to S. 3017 that would require the Director of National Intelligence to submit reports detailing the relationship between the Central Intelligence Agency (CIA) agencies and Hollywood. It would also require 15 other agencies to disclose the nature of their relationships with the film industry. These reports would have to be presented annually to congressional oversight committees.’

Read more: CIA Ties to Hollywood on Verge of Being Exposed

‘Captain America: Civil War is the reason why going to the movies is one of my favorite pastimes. Certain movies, when done correctly, invoke a sense of inspiration when you leave the theater that make you contemplate morality, characters, philosophy, politics and the parallels of art imitating life. And the fact that this is an epic comic book movie with crazy battle scenes, eye-candy superheroes and bad-ass female roles, work in its favor to make you want to watch it a second time.

The story begins after telekinetic superhero Wanda Maximoff (Elizabeth Olsen), causes collateral damage in Lagos, Nigeria after trying to stop HYDRA villain, Brock Rumlow (Frank Grillo), from blowing up a populated area, ironically. This is the straw that breaks the camel’s back and in turn makes the United Nations bring forth the Sokovia Accords—ratified by 117 countries—which will place The Avengers under their control and will no longer let them operate independently.’

Read more:

‘Vice’s Jason Leopold has uncovered documents showing the CIA had a role in producing up to 22 entertainment “projects,” including History Channel documentary Air America: The CIA’s Secret Airline, Bravo‘s Top Chef: Covert Cuisine, the USA Network series Covert Affairs and the BBC documentary The Secret War on Terror—along with two fictional feature films about the CIA that both came out in 2012.

The CIA’s involvement in the production of Zero Dark Thirty (effectively exchanging “insider” access for a two-hour-long torture commercial) has already been well-established, but the agency’s role in the production of Argo—which won the Best Picture Oscar for 2012—was heretofore unknown. The extent of the CIA’s involvement in the projects is still largely classified, as Leopold notes, quoting an Agency audit report:’

Read more: CIA’s Work With Filmmakers Puts All Media Workers at Risk