‘The latest Tom Cruise movie, American Made, manages the incredible — to sympathize with an amoral drug smuggler and government informer whose lies sparked a deadly, early example of fake news. The target of the disinformation was Nicaragua, the authors were the President and his men, and the Big Lie was that Sandinista leaders had struck a deal with the Medellin cartel to smuggle drugs into America.

While director Doug Limon‘s thrill ride version of Barry Seal‘s story does acknowledge his questionable role in the Contra war, the film is really about an exuberant flyboy — Maverick is back as an anti-hero — who stumbles into high adventures and government conspiracies. The twist (spoiler) is that this time Cruise dies.

Think Air America meets Mission Impossible and The Parallax View. We’ve seen this movie before, only this time it’s a whitewash of some relevant history.’

Read more: Hollywood Whitewashes History and Covert Ops into ‘Action Adventure’

Part Two

‘Tom Secker and Matthew Alford report on their astonishing findings from trawling through thousands of new US military and intelligence documents obtained under the Freedom of Information Act.

The documents reveal for the first time the vast scale of US government control in Hollywood, including the ability to manipulate scripts or even prevent films too critical of the Pentagon from being made — not to mention influencing some of the most popular film franchises in recent years.

This raises new questions not only about the way censorship works in the modern entertainment industry, but also about Hollywood’s little known role as a propaganda machine for the US national security apparatus.’

Read more: Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA

‘A continuous assault on the public psyche by the entertainment industrial complex aims to disorganize and derail the individual. It’s a world governed by terror, and to find relief from such continual fear and stress we’re invited to seek shelter in meaningless, self-destructive habits and pursuits. The celebrity role models in our culture lead the way, setting the example for how to abandon ourselves to the mainstream orgy of debauchery and stupidity.

Via the 24/7 news cycle format, the media keeps the shock and awe flowing, and corporate pop-culture is the escape. Pop stars are selected for their helplessness against the MK Ultra/Monarch-type mind control. This kind of programming is necessary to turn people into celebrity puppets whose behavior is to be emulated by the public. The stars that do this best become icons of Illuminati symbolism, using their careers and souls to pimp occult messages and ideas to the masses.’

Read more: Illuminati Pop Stars – the In-Your-Face Conspiracy that Won’t Go Away

‘The latest season of the Netflix drama House of Cards features an episode in which politicians attend a Bohemian Grove-like retreat complete with an ominous statue and a mock human sacrifice.

Season 5, episode 8, puts the series’ protagonist Frank Underwood, played by Kevin Spacey, inside a wooded retreat for powerful men dubbed, “Elysian Fields.”

“Some of the most powerful men in the world are gathered in this clearing,” Underwood states, proceeding throughout the episode to scheme at the club with other influential members.’

Read more: New House of Cards Features Mock Human Sacrifice at Bohemian Grove–like Retreat

‘Since its release on May 25, 1977, Star Wars – now known as Episode IV: A New Hope – has inspired millions of followers across generations. The film has stood the test of time, but the original circumstances of Star Wars’ creation, and the film’s deliberately constructed relationship with US history, have become obscured.

It seems unthinkable that Star Wars was a film that studios did not want. George Lucas’s treatment was rejected by United Artists, Universal and even Disney – ironic given the $4.05 billion they paid for the franchise in 2012. Though 20th Century Fox picked up the project, it was Lucas they wanted, not Star Wars.

The deal Fox and Lucas made was unusual. Lucas’s previous movie American Graffiti had been such a hit that Lucas could have raised his fee, but he chose not to. Instead, he negotiated a deal which gave him merchandising and sequel rights in what was a pivotal moment for the industry, establishing the practice of merchandising.’

Read more: Star Wars Is a Fantasy Film Firmly Based on America’s Real Conflicts

‘Jon Robberson is a 16 year veteran of Hollywood feature film, television, and commercial production. He worked behind the scenes at all of the major studios and networks, having worked on projects for such notables as Spielberg, Bruckheimer, Silver and Abrams, to name a few. He also left that scene because he says it is rife with pedophilia.

Dave Daubenmire, the host of the webcast Pass the Salt Live, interviewed Robberson this week. During the interview, the former insider spoke about an alleged global Satanic pedophile ring that controls Hollywood.

Trust us, we know how this sounds. But hear it out.

Robberson is not the first person to make these claims. As the Free Thought Project reported last year, childhood star turned adult actor Elijah Wood, also claimed Hollywood is in the midst of a massive sexual abuse scandal, which can be compared to that of Jimmy Savile in Britain.’

Read more: Hollywood Insider Speaks Out, Claims a Global Paedophile Ring Controls Hollywood

‘Words, or logoi, form the basis of all reality. I have written many times and even lectured on the doctrine of St. Maximos the Confessor concerning the archetypal patterns or logoi that form the divine ideas that undergird all reality. All these logoi are one in the Logos, and ultimately give all distinct objects their meaning and unity. The logoi become a unifying, objective metaphysical principle in the divine Person of the Logos. This is why Genesis 1 describes God speaking and creating through His Logos. What is interesting about the recent philosophically-focused science fiction film Arrival is that, while scratching and floundering around in the dark, it hits upon this issue – and predictably provides an incoherent, inconsistent solution, as we will see.’

Read more: Arrival (2016) – The Film’s Secret Meaning Explained