WEBVTT 1 00:00:00.000 --> 00:00:02.680 Hey, everyone, welcome back today. I have an interview for 2 00:00:02.759 --> 00:00:05.440 you with the incredibly intelligent Jay Dyer. 3 00:00:05.679 --> 00:00:06.360 Jay is a. 4 00:00:06.280 --> 00:00:10.160 Philosopher, an author, and a comedian known primarily for his 5 00:00:10.279 --> 00:00:14.119 analysis of geopolitics, Hollywood, and culture. If you are interested 6 00:00:14.160 --> 00:00:17.079 in following Jay's work or purchasing any of his books, 7 00:00:17.079 --> 00:00:19.160 you will find all of the relevant links in the 8 00:00:19.280 --> 00:00:22.879 video description. I really hope that you enjoy our conversation together. 9 00:00:23.039 --> 00:00:25.079 To start off, could you talk a little bit about 10 00:00:25.120 --> 00:00:28.600 what initially drew you to analyzing Hollywood. I guess it's 11 00:00:28.679 --> 00:00:33.119 namely celebrities and culture and films. Also, do you believe 12 00:00:33.159 --> 00:00:36.920 that Hollywood is as important a vehicle for propagandizing people 13 00:00:36.960 --> 00:00:37.640 as the media. 14 00:00:37.799 --> 00:00:40.640 Well began me on this track was when I was 15 00:00:41.399 --> 00:00:42.479 in high school. 16 00:00:42.679 --> 00:00:45.399 I was we had clicks in high school. 17 00:00:45.399 --> 00:00:47.479 I had to ask everybody on Twitter the other day 18 00:00:47.759 --> 00:00:49.640 if this still exists. And I get the impression that 19 00:00:49.679 --> 00:00:52.039 clicks don't exist as much anymore. But when I went 20 00:00:52.079 --> 00:00:53.560 to high school, it was very much like a John 21 00:00:53.600 --> 00:00:56.039 Hughes movie. So there was all these cliques and I 22 00:00:56.119 --> 00:00:58.240 was in the cool guy click. 23 00:00:58.159 --> 00:00:59.039 Of you know. 24 00:00:59.119 --> 00:01:03.159 We would party, have fun, and we did theater, and yes, 25 00:01:03.200 --> 00:01:07.040 we were heterosexual. Okay, So, but I was in a 26 00:01:07.079 --> 00:01:09.239 small town, and in a small town, there's not a 27 00:01:09.280 --> 00:01:10.040 whole lot of options. 28 00:01:10.079 --> 00:01:12.239 So we were all in the movies. We were into 29 00:01:12.280 --> 00:01:12.680 the arts. 30 00:01:13.680 --> 00:01:15.799 A lot of my friends were in bands, and all 31 00:01:15.840 --> 00:01:18.239 of us from movie bops, and so we were always 32 00:01:18.239 --> 00:01:20.319 interested in that as an art form. And then when 33 00:01:20.359 --> 00:01:23.799 I went to college, I decided I wanted to study 34 00:01:23.799 --> 00:01:28.159 philosophy and film and somehow trying to make all these 35 00:01:28.159 --> 00:01:29.959 things kind of mesh together, just because I had a 36 00:01:30.000 --> 00:01:32.719 lot of interest, and I took a lot of film classes, 37 00:01:32.840 --> 00:01:35.640 took a lot of history of film classes, history of Hollywood, 38 00:01:36.159 --> 00:01:38.480 and it did a history degree at the same time too, 39 00:01:38.640 --> 00:01:40.519 as well as philosophy degree. So it was kind of 40 00:01:40.560 --> 00:01:43.280 like all these worlds were meshing. And that was around 41 00:01:43.599 --> 00:01:46.840 mid two thousands, and that was right when blogging was 42 00:01:46.879 --> 00:01:49.319 starting to kind of get get going. So I just 43 00:01:49.319 --> 00:01:52.439 started writing blogging about movies and doing my own weird 44 00:01:52.480 --> 00:01:55.319 movie analysis, which is kind of like if we had 45 00:01:55.319 --> 00:01:58.280 a college class on you know, literature, that it would 46 00:01:58.280 --> 00:02:00.319 be like a close reading, but I would spring in, 47 00:02:00.480 --> 00:02:04.040 you know, these kind of weird esoteric critiques, and you 48 00:02:04.040 --> 00:02:06.079 know how a lot of these people tied into intelligence 49 00:02:06.079 --> 00:02:09.479 agencies and how a lot of the you know, military 50 00:02:09.520 --> 00:02:14.000 and Pentagon offices had liaison, you know, connections between different 51 00:02:14.039 --> 00:02:17.759 studios and Hollywood. And then when I was doing grad work, 52 00:02:17.800 --> 00:02:19.439 I was like, you know, this is also fascinating. There's 53 00:02:19.439 --> 00:02:23.319 so much on this topic that nobody knows about, and 54 00:02:23.479 --> 00:02:25.919 I was finding so much information on this. I was like, 55 00:02:25.960 --> 00:02:28.840 I've got to in some way, you know, use this 56 00:02:28.919 --> 00:02:32.960 as something to you know, like a book or documentary or. 57 00:02:32.919 --> 00:02:33.520 Something like that. 58 00:02:34.439 --> 00:02:36.080 So the easiest thing to do is just kind of 59 00:02:36.080 --> 00:02:40.159 collect together all the essays and then Whitney Webb's publisher, 60 00:02:40.240 --> 00:02:44.319 which is he's also the publisher of like Daniel Esslin's 61 00:02:44.319 --> 00:02:47.639 book on Builderberg. So those are the famous books from 62 00:02:47.639 --> 00:02:49.879 that publisher that reached out and they were like, hey, 63 00:02:49.919 --> 00:02:52.639 do you have a book? And I didn't, but I 64 00:02:52.680 --> 00:02:55.000 was like, yeah, sure, I got a manuscript ready to go. 65 00:02:55.039 --> 00:02:57.159 So I just kind of put all my best essays together. 66 00:02:57.879 --> 00:03:00.599 And the weird part was that when I got into 67 00:03:00.680 --> 00:03:03.840 the grad school era of studying this, there was so 68 00:03:03.960 --> 00:03:05.960 much more that I didn't know about. 69 00:03:06.000 --> 00:03:08.439 That again just kind of like tumbled down this. 70 00:03:08.439 --> 00:03:12.479 Rabbit hole, so to speak, and I found you know, 71 00:03:12.520 --> 00:03:15.599 a lot of Pentagon money, a lot of Foyer. 72 00:03:15.280 --> 00:03:16.879 Requests, a lot of that kind of stuff that. 73 00:03:16.840 --> 00:03:22.240 Had gone into influencing movies and TV shows to the integrit. 74 00:03:22.280 --> 00:03:23.879 I mean things that you wouldn't expect, you know, all 75 00:03:23.919 --> 00:03:26.919 the way down to things like Cupcake Wars, these. 76 00:03:26.800 --> 00:03:28.319 Really stupid TV shows. 77 00:03:28.639 --> 00:03:30.840 But when you start to understand, yeah, when you start 78 00:03:30.879 --> 00:03:35.520 to understand like what the idea of culture creation and 79 00:03:35.560 --> 00:03:38.560 culture engineering is, then it starts to make a lot 80 00:03:38.599 --> 00:03:40.800 more sense why you would want to have you know, 81 00:03:40.919 --> 00:03:44.240 messaging and propaganda and even those kinds of shows. And 82 00:03:44.240 --> 00:03:46.400 then it got even into areas of like cartoons and 83 00:03:46.439 --> 00:03:48.520 the Pentagon consulting on various cartoons. 84 00:03:48.520 --> 00:03:50.400 In the eighties. I grew up watching G I. Joe, 85 00:03:50.560 --> 00:03:54.240 so you know, I was like, what, so even that 86 00:03:54.400 --> 00:03:55.439 was like a SiO So. 87 00:03:56.039 --> 00:03:59.080 Yeah, that's what that's what That's what I got into, 88 00:03:59.240 --> 00:04:02.000 and it was all weird and crazy. But you know, 89 00:04:02.039 --> 00:04:03.759 the weird part too, is that I was studying that 90 00:04:03.800 --> 00:04:06.280 in the mid two thousands, and now it seems a 91 00:04:06.280 --> 00:04:09.840 lot more amenable to people like, you know, after Argo, 92 00:04:09.879 --> 00:04:13.439 when Ben Affleck made that, he did these interviews where he. 93 00:04:13.520 --> 00:04:16.040 Was like, yeah, Hollywood and the CIA. They're like flip 94 00:04:16.040 --> 00:04:18.240 sides of the same coin, and it was just very nonchalant. 95 00:04:18.319 --> 00:04:20.959 I'm like, well, here he is saying it, right, And 96 00:04:21.000 --> 00:04:23.319 I've been researching this and people call me crazy for 97 00:04:23.360 --> 00:04:24.560 so long for talking about this. 98 00:04:24.600 --> 00:04:29.600 It was like, oh, you're crazy, dude, Temple, and I'm like, you. 99 00:04:29.680 --> 00:04:32.720 And Damon have like provable ties to the CIA. 100 00:04:33.279 --> 00:04:33.519 Yeah. 101 00:04:33.560 --> 00:04:35.480 I mean, it's like once that stuff started coming out, 102 00:04:35.600 --> 00:04:38.199 it seemed like it was a lot more again, like 103 00:04:38.240 --> 00:04:39.839 people accepted. 104 00:04:39.360 --> 00:04:40.560 It more easily. 105 00:04:40.639 --> 00:04:43.480 But but I mean the thing with Argo was that 106 00:04:43.519 --> 00:04:45.680 it was made with the CIA, right, Like it was 107 00:04:45.920 --> 00:04:48.600 one of these movies where they publicly spoke of it 108 00:04:48.639 --> 00:04:51.759 as a CA consultant maybe just like zero Darc thirty 109 00:04:51.839 --> 00:04:52.720 American Sniper. 110 00:04:53.319 --> 00:04:54.439 So I guess I'm just saying it. 111 00:04:54.439 --> 00:04:58.759 It just started becoming more acceptable or normalized once those 112 00:04:58.759 --> 00:05:00.160 people started talking about it. 113 00:05:00.199 --> 00:05:02.519 But you know, I'm just emphasizing it. 114 00:05:02.519 --> 00:05:05.279 In like in the two thousands, this stuff was so crazy, 115 00:05:05.360 --> 00:05:06.439 Like it was just like, yeah. 116 00:05:06.279 --> 00:05:09.079 That's crazy and there's no way. 117 00:05:09.360 --> 00:05:11.800 But I mean, I've got academic texts up there on 118 00:05:11.839 --> 00:05:14.439 the top shelf, which is you know, going back to 119 00:05:14.480 --> 00:05:16.360 the nineties and two thousands where you know, there was 120 00:05:16.439 --> 00:05:19.879 academics already writing about this back then, that you know, 121 00:05:19.959 --> 00:05:23.160 movies were basically made as propaganda. And the reality is 122 00:05:23.199 --> 00:05:27.360 that I'll stop rambling after this. That was always the 123 00:05:27.399 --> 00:05:29.600 case when you go back to the you know, the teens, 124 00:05:29.839 --> 00:05:32.199 the nineteen teens of the silent pictures, and you get 125 00:05:32.199 --> 00:05:35.160 into the twenties and thirties. I mean even in other countries, right, 126 00:05:35.199 --> 00:05:38.480 I mean the German film they use it for propaganda. 127 00:05:38.560 --> 00:05:40.720 I mean it's just kind of natural that, oh well, yeah, 128 00:05:40.759 --> 00:05:43.160 it's going to be used for propaganda. And that's where 129 00:05:43.160 --> 00:05:46.319 you get these sort of backdoor influences. And in the 130 00:05:46.399 --> 00:05:48.959 second book, I went beyond like Caa and Pentegon and 131 00:05:49.000 --> 00:05:52.160 all that stuff, and I got into like organized crime 132 00:05:52.199 --> 00:05:55.040 and its relationship to Hollywood, because there's always been a 133 00:05:55.079 --> 00:05:59.160 deep relationship between intelligence age She's an organized crime as well. 134 00:05:59.199 --> 00:06:01.319 So that's how I got into it, and that's kind 135 00:06:01.360 --> 00:06:05.519 of what took me down this path that in studying 136 00:06:05.560 --> 00:06:07.680 Ian Fleming and the history of the Bond series and 137 00:06:07.680 --> 00:06:10.920 how James Bond was another one of these key elements 138 00:06:10.920 --> 00:06:13.879 in this tie between intelligence and movies because it was 139 00:06:13.920 --> 00:06:16.680 a very important Cold War archetype figure that they wanted 140 00:06:16.720 --> 00:06:19.040 to prop up and put him up as kind of 141 00:06:19.040 --> 00:06:22.360 the image of Western masculiney at that time, which is 142 00:06:22.360 --> 00:06:26.959 iran because now the very people like now, now. 143 00:06:27.319 --> 00:06:29.120 I got this book the other day. Check this out. 144 00:06:29.319 --> 00:06:31.480 It's called this one. 145 00:06:32.639 --> 00:06:36.120 Yeah, the Stars and Spies, Right, this is about this 146 00:06:36.160 --> 00:06:39.560 is a mainline dude, a main line historian, right, writing 147 00:06:39.560 --> 00:06:41.800 about the history of spot And it's like, okay, so 148 00:06:41.839 --> 00:06:44.399 now that the mainline dude writes about it, it's cool, right, 149 00:06:44.439 --> 00:06:45.360 it's kosher, you can. 150 00:06:45.279 --> 00:06:45.839 Talk about this. 151 00:06:46.439 --> 00:06:48.399 But when I put my book out in twenty sixteen, 152 00:06:48.480 --> 00:06:48.879 it was like. 153 00:06:48.800 --> 00:06:51.800 Oh, it's crazy conspiracy. Oh, but he's the main line historian, 154 00:06:51.839 --> 00:06:52.439 so it counts. 155 00:06:52.879 --> 00:06:54.600 But at the end of his books, he's got another 156 00:06:54.600 --> 00:06:57.279 book too, where he's writing about the history of Riverish intelligence. 157 00:06:57.680 --> 00:07:00.199 At the end of the books, it's like, oh, yeah, 158 00:07:00.240 --> 00:07:02.360 during the Cold War, James Bond was the you know, 159 00:07:02.519 --> 00:07:04.480 archetype of masculinity and. 160 00:07:04.600 --> 00:07:06.959 You know, suave, dub and air and blah blah blah. 161 00:07:07.000 --> 00:07:09.560 And it's like now he's he's not allowed at the 162 00:07:09.959 --> 00:07:12.480 British intelligence because they're woke, and. 163 00:07:12.560 --> 00:07:15.439 He's championing he's championing it. He's like, no, it's time 164 00:07:15.480 --> 00:07:18.720 for James to get out of here with his toxic masculinity. 165 00:07:18.839 --> 00:07:20.639 That was actually going to be my next question. 166 00:07:21.120 --> 00:07:23.279 It's obvious that there's a lot of collaboration between the 167 00:07:23.319 --> 00:07:26.879 intelligence agencies and the media, and then obviously there's collaboration 168 00:07:27.000 --> 00:07:29.120 between them and Hollywood. 169 00:07:29.160 --> 00:07:30.199 But how deep does this go? 170 00:07:30.360 --> 00:07:33.199 Do they even create films anymore for entertainment purposes or 171 00:07:33.240 --> 00:07:35.879 is it only a vehicle for some kind of propaganda 172 00:07:35.959 --> 00:07:37.439 to get some sort of message across. 173 00:07:37.560 --> 00:07:40.120 I think the way it works is that and there's 174 00:07:40.120 --> 00:07:42.279 a lot of films that are made that that aren't 175 00:07:42.399 --> 00:07:46.879 propaganda and don't have any specific messaging per se. But 176 00:07:47.000 --> 00:07:49.000 usually what they would do is focus on the big 177 00:07:49.040 --> 00:07:51.639 blockbusters because those the ones are the most important because 178 00:07:51.680 --> 00:07:54.160 most people would see that. You know, if you think 179 00:07:54.199 --> 00:07:58.480 about a franchise series like Bond or even something like 180 00:07:58.519 --> 00:08:00.720 Harry Potter. I mean, those are to be seen by 181 00:08:01.000 --> 00:08:03.839 a billion, maybe more than a billion people. So the 182 00:08:04.240 --> 00:08:07.720 propaganda the messaging in those is very important, especially to 183 00:08:08.839 --> 00:08:10.839 the power structure, so that they'll focus. 184 00:08:10.560 --> 00:08:11.560 A lot more on that. 185 00:08:12.199 --> 00:08:16.279 But they will also focus on things that they consider 186 00:08:16.360 --> 00:08:18.480 to be culture drivers, and that's why you could get 187 00:08:18.480 --> 00:08:21.040 things like even food shows might have that kind of 188 00:08:21.839 --> 00:08:24.759 influence because we might not think of it that way, 189 00:08:24.800 --> 00:08:27.639 but food is part of culture, you know, just like 190 00:08:27.720 --> 00:08:30.120 fashion is part of culture. And so if you have 191 00:08:30.199 --> 00:08:33.279 an attitude of full spectrum dominance, which we see this 192 00:08:33.440 --> 00:08:36.399 now with you know, great reset for example, that's every 193 00:08:36.440 --> 00:08:39.919 area of life you can't have, you know, a full 194 00:08:39.960 --> 00:08:43.080 spectrum dominance model put into place and allow everybody to 195 00:08:43.159 --> 00:08:46.480 like create their own fashions or whatever. And that's why, 196 00:08:46.600 --> 00:08:50.480 for example, in the circular economy, they specify that you're 197 00:08:50.480 --> 00:08:52.879 gonna have to share your white e tities with everybody 198 00:08:52.879 --> 00:08:53.679 else in the neighborhood. 199 00:08:53.879 --> 00:08:56.120 Like you you don't get to, you know, sew. 200 00:08:55.960 --> 00:08:58.399 Your own boxers and whitey tidies or whatever you like, 201 00:08:58.399 --> 00:09:00.919 you got to you gotta share everything, saying because you 202 00:09:00.919 --> 00:09:04.519 can't allow that level of independence. I mean, I know 203 00:09:04.559 --> 00:09:07.559 that sounds crazy, but that's that's the socialist model the 204 00:09:07.559 --> 00:09:11.120 economy that they want to bring in. But yeah, to 205 00:09:11.200 --> 00:09:15.200 go back to your question about the about the media, 206 00:09:15.200 --> 00:09:17.480 I think hollywoods always been kind of extension in the media. 207 00:09:17.960 --> 00:09:19.200 They've always had an overlap. 208 00:09:19.279 --> 00:09:23.200 All the heads of the first TV networks they were 209 00:09:23.200 --> 00:09:29.200 all from wartime intelligence so like Tarnoff, Paley, Uh and 210 00:09:29.240 --> 00:09:32.679 then people from consulting agencies that also worked in the OSS, 211 00:09:32.799 --> 00:09:37.159 people like Walter Lippmann Lawyers. They were always kind of 212 00:09:37.200 --> 00:09:41.440 overlapping with Hollywood and media, and so they took a 213 00:09:41.440 --> 00:09:44.159 lot of that wartime knowledge that they had of psyops 214 00:09:44.200 --> 00:09:46.559 from the OSS and they put that into how to 215 00:09:46.679 --> 00:09:51.200 run and do mass media. So it's always been that way, 216 00:09:51.840 --> 00:09:55.519 I think, in varying degrees. But it's really the blockbusters 217 00:09:55.519 --> 00:09:57.960 that are the most important because that because of how 218 00:09:57.960 --> 00:10:00.320 many people see those and what kind of market types 219 00:10:00.399 --> 00:10:04.080 they project in those. But nowadays it's like it's it's different. 220 00:10:04.080 --> 00:10:06.759 I don't think the studios matter that much anymore. It's 221 00:10:07.080 --> 00:10:10.960 gone to you know, streaming stuff. Revenue for these big 222 00:10:11.000 --> 00:10:15.159 blockbusters is way down unless it's something like Avatar. So 223 00:10:15.399 --> 00:10:18.399 it's really shifted and changed. But that's just because the 224 00:10:18.399 --> 00:10:22.240 Internet and now the movie is like, you know, Jamie 225 00:10:22.240 --> 00:10:24.679 and I were watching some horror movies, like now the horror. 226 00:10:24.480 --> 00:10:26.639 Movies are woke. It's just really ridiculous. 227 00:10:26.679 --> 00:10:31.960 Really, yeah, it's it's almost almost almost everything's unwatchable almost. 228 00:10:32.519 --> 00:10:32.960 I agree. 229 00:10:32.960 --> 00:10:34.919 I haven't been able to watch a new movie and 230 00:10:35.240 --> 00:10:38.039 I can't even remember what the last good new movie 231 00:10:38.039 --> 00:10:38.639 I saw was. 232 00:10:39.440 --> 00:10:42.279 It's just, yeah, unwatchable. Things used to be subtle. 233 00:10:42.320 --> 00:10:44.480 There are sometimes I'll watch movies now that I watched 234 00:10:44.480 --> 00:10:46.200 in early two thousands or something. I'll be like, oh, 235 00:10:46.240 --> 00:10:48.720 I missed that. I never noticed this before. This is 236 00:10:48.759 --> 00:10:50.559 a little bit of propaganda, but now it's just in 237 00:10:50.600 --> 00:10:52.919 your face, shoving it down your throat, and I can't 238 00:10:53.000 --> 00:10:54.399 I can't even watch it anymore. 239 00:10:54.480 --> 00:10:56.240 And that's the that's the more subtle, like you said, 240 00:10:56.279 --> 00:11:00.360 that more subtle form of culture and cultural engineering, uh, 241 00:11:01.159 --> 00:11:03.559 which is kind of I think obvious to us now 242 00:11:03.600 --> 00:11:05.559 when we look at say, oh, you know, everybody is 243 00:11:05.639 --> 00:11:09.840 Skittles in the movies, it's like, is that really how 244 00:11:09.919 --> 00:11:10.320 it is? 245 00:11:10.480 --> 00:11:12.080 Everybody? You know, Skittles. 246 00:11:12.200 --> 00:11:15.399 I don't know about that, right, but yeah, like you're saying, 247 00:11:15.440 --> 00:11:16.879 when you the further you go back is a lot 248 00:11:16.919 --> 00:11:19.639 more subtle. And it was also like the further you 249 00:11:19.679 --> 00:11:23.960 go back, there was a lot more truthful films that 250 00:11:24.000 --> 00:11:27.279 were made that did have real messages and real content 251 00:11:27.320 --> 00:11:30.320 and real warnings. You know, in the seventies they made 252 00:11:30.360 --> 00:11:35.080 a lot of movies about the coming dystopia. In you know, 253 00:11:35.159 --> 00:11:37.679 the nineties, there was a lot of movies that kind 254 00:11:37.679 --> 00:11:40.120 of exposed, I guess you could say kind of deep 255 00:11:40.120 --> 00:11:43.840 state type things in a very very basic way. But 256 00:11:43.879 --> 00:11:45.440 the more that we get up into the you know, 257 00:11:45.559 --> 00:11:48.080 past the two thousands, especially after the Big Nine event, 258 00:11:48.159 --> 00:11:52.559 like everything really changes and turns into more and more 259 00:11:52.600 --> 00:11:55.039 just straight up propaganda. And the weird thing about that 260 00:11:55.600 --> 00:11:58.679 is that even after the Big Nine event, when you 261 00:11:58.720 --> 00:12:01.919 had these movies that were really pro America, like you know, 262 00:12:01.960 --> 00:12:07.200 American Sniper or Argo or like that, Like Ben Affleck's 263 00:12:07.240 --> 00:12:10.480 a great image of this because he's that post nine. 264 00:12:10.679 --> 00:12:13.879 Well remember Pearl Harbor that came out right before the event, 265 00:12:14.639 --> 00:12:17.279 and then you know Ben Afflecks kind of this image 266 00:12:17.320 --> 00:12:21.320 of the two thousands era face of Hollywood. Dude, Now 267 00:12:22.240 --> 00:12:26.039 that's all bad, right now, he would be toxic masculinity. 268 00:12:26.480 --> 00:12:28.360 It's racist because it's Americana. 269 00:12:28.600 --> 00:12:30.039 And I'm saying it's I'm not saying that was good 270 00:12:30.080 --> 00:12:32.039 because that was all propaganda at that time too, right, 271 00:12:32.720 --> 00:12:35.559 But now it's like you can't have pro American stuff 272 00:12:35.600 --> 00:12:39.720 because that's propaganda, that's racist. That's you see what I'm saying. 273 00:12:39.720 --> 00:12:42.679 How crazy it is that even like them from the two. 274 00:12:42.519 --> 00:12:45.759 Thousand way Is that why we're seeing so many remakes 275 00:12:45.799 --> 00:12:47.919 of film is because there's just remaking and remaking. Did 276 00:12:47.960 --> 00:12:50.279 they have to remake it according to the propaganda of 277 00:12:50.320 --> 00:12:50.759 the time. 278 00:12:52.039 --> 00:12:54.559 Yeah, there's two things going on with that. 279 00:12:54.679 --> 00:12:57.159 One is that they don't want to put any risks 280 00:12:57.159 --> 00:12:59.200 and anything, so they think they could just you know, 281 00:12:59.240 --> 00:13:02.919 make money, just money level of the safety of a remake. 282 00:13:03.039 --> 00:13:05.360 But there's also, like you said, there is this weird, 283 00:13:05.440 --> 00:13:09.240 maoist kind of element of rewriting the past. Uh, And 284 00:13:09.320 --> 00:13:10.840 I think we're going to see that that's going to 285 00:13:10.919 --> 00:13:15.320 go even crazier because we were watching forties movies and man, 286 00:13:15.399 --> 00:13:19.000 I mean there's some like pretty wild, you know, red 287 00:13:19.000 --> 00:13:21.679 pilled and based stuff in the forties movies that when 288 00:13:21.720 --> 00:13:23.840 people figure out that that was in the they just 289 00:13:23.840 --> 00:13:26.799 don't know. But they're going to ban that stuff. That's 290 00:13:26.799 --> 00:13:28.000 what I'm trying to say, Like, you won't be able 291 00:13:28.080 --> 00:13:29.600 to watch these kinds of movies. They're all going to 292 00:13:29.639 --> 00:13:31.759 be banned because there's. 293 00:13:31.559 --> 00:13:32.000 A lot of. 294 00:13:33.600 --> 00:13:38.639 How shall we say, jokes about people's types I'm trying 295 00:13:38.679 --> 00:13:39.919 to speak around it. 296 00:13:40.039 --> 00:13:42.799 Well, if it's all digital, then they can just edit 297 00:13:42.840 --> 00:13:45.519 things out or even exactly completely. But if you have 298 00:13:45.559 --> 00:13:47.919 hard copies of things, then yeah, that might be a 299 00:13:48.000 --> 00:13:51.440 leagal contraband At some point, though, do you believe in 300 00:13:51.480 --> 00:13:54.919 the theory of predictive programming And if so, could you 301 00:13:54.960 --> 00:13:56.679 talk a little bit about it maybe. I'm sure there's 302 00:13:56.679 --> 00:13:58.240 some people that don't know what that is, so maybe 303 00:13:58.240 --> 00:13:59.039 you could explain it. 304 00:13:59.320 --> 00:13:59.480 Yeah. 305 00:13:59.519 --> 00:14:01.639 I don't know exactly who came up with that term, 306 00:14:02.039 --> 00:14:04.360 but I think the basic idea is correct. 307 00:14:04.799 --> 00:14:06.519 I talk about it quite a bit in my books. 308 00:14:06.759 --> 00:14:10.200 The idea is just basically that one form of propaganda 309 00:14:10.360 --> 00:14:13.600 can be to see the ideas of what you're going 310 00:14:13.679 --> 00:14:16.840 to be doing ahead of time, and that fiction can 311 00:14:16.879 --> 00:14:21.440 be a lot more effective for that than mainstream news. 312 00:14:21.480 --> 00:14:23.360 And my bad because the news has kind of churned 313 00:14:23.360 --> 00:14:25.200 out and then people forget it a week later, so 314 00:14:25.279 --> 00:14:28.840 the news isn't is minimum has minimal effect in that regard. 315 00:14:28.840 --> 00:14:31.000 But movies are a lot more powerful for that because 316 00:14:31.080 --> 00:14:33.759 they're the kind of the myths of our of our culture, 317 00:14:33.799 --> 00:14:37.360 of our civilization. So movies have about the ability to 318 00:14:38.240 --> 00:14:42.000 affect people at a very subconscious level. That's actually been 319 00:14:42.039 --> 00:14:44.639 studied too, by the way, this is not just theorizing, 320 00:14:44.679 --> 00:14:48.480 but uh, the people who study propaganda. 321 00:14:48.559 --> 00:14:50.159 So I obviously study film and. 322 00:14:50.200 --> 00:14:53.799 Literature for these purposes, for these reasons to figure out 323 00:14:53.799 --> 00:14:58.360 the best way to tailor the message to affect the 324 00:14:58.399 --> 00:15:00.279 target audience. And that could be enough, is the way 325 00:15:00.320 --> 00:15:02.080 it could be in a negative way, and so you 326 00:15:02.120 --> 00:15:03.279 can brute on. 327 00:15:03.519 --> 00:15:06.759 One idea is the it's called the theater of brutality, 328 00:15:06.799 --> 00:15:11.159 where you brutalize an audience and desensitize them through the 329 00:15:11.200 --> 00:15:12.480 worst forms of film. 330 00:15:12.600 --> 00:15:15.720 Right, so hardcore, this that murder, death, all that kind 331 00:15:15.720 --> 00:15:18.840 of stuff that can be a form of desensitizing and 332 00:15:19.080 --> 00:15:21.559 putting the audience and putting your target people in under 333 00:15:21.600 --> 00:15:25.000 a form of psyops to degrade and destroy them. And 334 00:15:25.039 --> 00:15:27.799 this is part of warfare, right, This is not this 335 00:15:27.840 --> 00:15:30.360 goes beyond the arts, but it's weaponizing the arts. That's 336 00:15:30.480 --> 00:15:33.200 very it's a very real thing. But there's also this 337 00:15:33.279 --> 00:15:37.879 notion of preparing an audience or preparing the target group 338 00:15:37.960 --> 00:15:39.519 for what you want to do ahead of time. And 339 00:15:39.559 --> 00:15:42.919 you can actually see this in psychology. You know, remember 340 00:15:42.919 --> 00:15:45.679 there was a few years ago when all over YouTube 341 00:15:45.679 --> 00:15:50.159 it was all like videos about narcissists and uh, you know, gaslighting. 342 00:15:50.159 --> 00:15:52.120 Do you remember that when like there was just hundreds 343 00:15:52.120 --> 00:15:56.039 and and there was thousands of videos on YouTube about and. 344 00:15:56.039 --> 00:16:01.559 Like everybody before came. It's was about twenty eighteen. 345 00:16:01.279 --> 00:16:04.519 Like suddenly there and everybody was their own little pop 346 00:16:04.519 --> 00:16:07.960 psychologists on YouTube and talking about there my boyfriend is 347 00:16:07.960 --> 00:16:10.919 a n and then all the vegans are liken it. 348 00:16:11.039 --> 00:16:16.320 This is carness. So narisis, is your gaslighted me? No? 349 00:16:16.519 --> 00:16:19.679 Which it's just funny to me because like they were 350 00:16:19.720 --> 00:16:22.279 saying that if you disagreed or if you debated that 351 00:16:22.279 --> 00:16:25.200 that that's not what narcissm is disagreeing with you. It's 352 00:16:25.240 --> 00:16:28.399 not it's not gaslighting. But Gaslight is a great movie 353 00:16:28.440 --> 00:16:31.559 to watch to see this principle from the nineteen forties 354 00:16:31.679 --> 00:16:35.679 with Ingrid Bergmann. In that movie, the guy who's messing 355 00:16:35.720 --> 00:16:38.919 with his wife to get her money, he's gaslighting her 356 00:16:39.240 --> 00:16:42.879 by doing all these tricks and like kind of revealing 357 00:16:42.919 --> 00:16:46.519 that he's doing it interface and it throws her off balance. 358 00:16:46.559 --> 00:16:50.399 It's it's a form of psychological manipulation that it's that 359 00:16:50.519 --> 00:16:52.480 is a real thing. And so I'm just making that 360 00:16:52.559 --> 00:16:56.360 analogy to the reason that you might see or put 361 00:16:56.360 --> 00:16:59.039 the stuff into fiction might be too gaslight the target 362 00:16:59.080 --> 00:17:02.000 audience to put it in their face that you're doing it, 363 00:17:02.080 --> 00:17:05.799 and then they typically will fold, they'll back down, right, 364 00:17:06.880 --> 00:17:09.279 That's what happens in the film, for example, until she 365 00:17:09.279 --> 00:17:12.359 gets pushed to the point of madness. But the other 366 00:17:12.400 --> 00:17:14.200 thing that a predictor programming can do is kind of 367 00:17:14.200 --> 00:17:17.559 give the impression that the establishment is godlike that, oh 368 00:17:17.599 --> 00:17:19.960 well they they how do they know ahead of time 369 00:17:19.960 --> 00:17:21.960 they were going to do this? Well because they planned it, right, 370 00:17:22.279 --> 00:17:25.559 That's something I mean, it's not magic, it's yeah, it's 371 00:17:25.559 --> 00:17:29.799 just a military strategy and planning. So once we understand it, 372 00:17:29.839 --> 00:17:31.279 I think the easiest way to understand this kind of 373 00:17:31.279 --> 00:17:33.799 stuff is from the military vantage point, because that's where 374 00:17:33.799 --> 00:17:39.200 it's most utilized, is techniques and tactics of weakening and 375 00:17:39.640 --> 00:17:43.559 breaking down an enemy or target population, you know, sun 376 00:17:43.680 --> 00:17:44.599 Zoo type stuff. 377 00:17:44.680 --> 00:17:44.880 Right. 378 00:17:45.519 --> 00:17:48.720 So, but there are actual academic people that are written 379 00:17:48.759 --> 00:17:50.880 on this theory of predictive programming, Like there's a professor 380 00:17:50.960 --> 00:17:55.400 named Elliott Gaines who has an essay about semiotic symbolic 381 00:17:55.480 --> 00:17:59.160 destructions of landmarks in films before the Big Nine event 382 00:18:00.160 --> 00:18:02.839 and how that might have contributed to how we perceived 383 00:18:03.680 --> 00:18:07.880 the bringing down of those towers. Right, So you want 384 00:18:07.920 --> 00:18:10.480 to have the narrative in place, ready to roll when 385 00:18:10.519 --> 00:18:13.720 that occurs, to then steer the audience into how they 386 00:18:13.759 --> 00:18:16.440 interpret that event. So it's a big part of narrative control. 387 00:18:16.519 --> 00:18:19.519 I think it's a big part of conditioning people to it. 388 00:18:20.000 --> 00:18:23.759 Better example than that would be probably you know, H. G. 389 00:18:23.920 --> 00:18:27.119 Wells is the Burnets before Burne's. And when AHG. Wells 390 00:18:27.160 --> 00:18:30.240 wrote all his science fiction novels, he was perceptible enough 391 00:18:30.279 --> 00:18:33.279 to know that if he wanted to convince people of 392 00:18:33.319 --> 00:18:38.640 his Fabian socialism and his free Masonic views of the 393 00:18:38.680 --> 00:18:42.400 atheistic star Trek future that he wanted to bring about, 394 00:18:42.799 --> 00:18:44.599 the best way to do it would be not through 395 00:18:44.640 --> 00:18:48.799 his non fiction political writings, but through all that sci fi. 396 00:18:49.119 --> 00:18:52.200 So the most important sci fi novels that we know 397 00:18:52.440 --> 00:18:54.759 in you know, the West in the twentieth century, I 398 00:18:54.799 --> 00:18:57.519 mean they're from the dude who wanted to bring in 399 00:18:57.799 --> 00:18:59.200 the state owns your. 400 00:18:59.119 --> 00:19:01.640 Kids, the state decides if you have kids. 401 00:19:01.799 --> 00:19:06.039