‘It’s no secret that the CIA, the U.S. government, and the cabal have some serious ties in Hollywood. Much of what we watch for ‘fun’ is actually propaganda that’s fed to us in order to shape our thoughts and values. We’re told what to wear, how to act, what our goals should be, and who we should love and hate, all through the media.
Not many people know this, but the CIA has an entire department dedicated to the entertainment industry. It’s run through the CIA’s Entertainment Industry Liaison Office, which collaborates in an advisory capacity with filmmakers. The CIA doesn’t just offer guidance to filmmakers, it even offers money. In 1950, the agency bought the rights to George Orwell’s Animal Farm and then funded the 1954 British animated version of the film. Its involvement had long been rumoured, but only in the past decade have those rumours been substantiated.’
The Neon Demon is painful to watch. Not only is it filled with long hypnotic sequences that emphasize the shallow self-importance of the fashion world, it deliberately dwells on some of the most upsetting human practices possible including pedophilia, necrophilia, cannibalism and ritual killings. All of these horrors are presented in an aesthetically pleasing matter and placed in a cool, fashionable context in an apparent attempt to normalize them.
Like most of the entertainment analyzed on the Vigilant Citizen, this movie leaves a foul feeling, as if one’s very soul was violated by what was just witnessed. Of course, this kind of result from a “psychological horror movie” is to be expected, but the most disturbing part of this movie isn’t the fiction: It is the dark “real world” truths it appears to celebrate.’
‘There’s a widely spread prejudice that George Lucas’ Star Wars trilogy is fundamentally – even exclusively – based on Joseph Campbell’s idea of monomyth. It is, we are told, primarily a portrait of “hero’s journey”, embodied in the exploits of Luke Skywalker, starting off on his path to achieve the maturity and spiritual accomplishment in a quite modernized, to the century of self(ish) appropriated, theory of ancient pedagogical method, intended to paint “the veritable image of truth” (Plato) when rational argument fails to express it.
Although Campbell’s influence is duly noted by Lucas and some other leading filmmakers of his generation, my intuition for some time was that there’s something more fundamental and at the same time more mundane to quasi-mythical subtext of Star Wars films.’
‘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.
Arrival is a film about language and meaning, and ultimately about the Tower of Babel, with the author of the film’s story also penning “Tower of Babel.” In modern philosophy, the dismissal of metaphysics was replaced with linguistic philosophy, where endless questions and disputes about how words can “mean,” when words are socially constructed symbols becomes a loop of circular contradictions, much like the alien language in the film.’
‘The weekend ratings are out, and they aren’t good news for Leonardo DiCaprio’s Global Warming Epic ‘Before the Flood‘, which we reviewed yesterday on WUWT. Showbuzz Daily has listed the top 150 TV and Cable programs for the weekend, and in ‘the hottest year ever’, discussing the ‘most important topic ever’, Before the Flood came in at #61 for the weekend.
I mean, who wouldn’t want to tune in and have a jet-setting actor-millionaire, a government handout beneficiary, a Pope, the globe-trotting Secretary of State, the lame-duck president, the ‘Horndog-in-Chief” and the leader of the U.N. come on for 96 minutes and berate you for doing things like driving your car, eating hamburgers, and just not caring enough about the planet like they do while looking down on us from their private planes?’
‘HBO’s Westworld’s two trailers that capture the storyline:
The analogy of the creatures of Westworld existing as animals for the work and pleasure of “hidden masters” is relatively easy to present, document, and prove to anyone with intellectual integrity and moral courage to escape their programming.’
‘I have only analyzed two John Carpenter films, Big Trouble in Little China and Prince of Darkness (while Branko Malic covered The Thing), but it’s admittedly absurd to have not covered They Live! on a site dedicated to deep state connections and film. For most of the audience, the meaning and message of They Live! will likely be obvious, but aspects of the film may have been missed and as our world spirals more and more into total insanity, Carpenter’s classic is becoming more and more of a reality – we really are living in a dystopic B sci-fi film!’
‘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).’