Speaker 1: In two thousand and one. If you remember Kubrick and
this famous probably one of the most famous movies, if
not the most famous movie of all time. I read
it as a kind of an alchemical allegory. I don't
think it's about all the same same things that other
conspiracy people think necessarily, but I do think there's a message,
there's a story going on there that if we look
at Arthur C. Clark and what he was talking about,
we get an insight into this idea of the possibility
of man's potheosis, that is, becoming his own god through technology.
In two thousand and one, you remember the monolith shows up,
and that monolith is intended to be a future AI.
It's kind of like us in the future, or the
future deity that is ultimately some kind of supercomputer kind
of stepping back and giving us indicators and signposts as
to human evolution into the future and how we could
basically become gods on our own. Part of the reason
that Arthur C. Clark had this idea was that he
was in the circles of a lot of esotericists and occultists.
He was hanging out with Aleister Crowley, the most famous
Satanist of the last century, and Clark was interested in
putting that ideology into his science fiction. In fact, most
science fiction, you could argue, not all of it. I mean,
I think C. S. Lewis's Space Trilogy is a unique exception,
which is an explicitly Christian sci fi story, with volume
three being about the aliens identified specifically as demons. And
if you remember, in the third of the Space Trilogy, C. S.
Lewis put the Christian spirituality and ethos into that text
by making the demons want to depopulate all humanity. So C. S.
Lewis is really one of the best science fiction writers.
Even though everybody thinks about Narnia, they think about fantasy,
but in the Space Trilogy, it's actually the demons that
want to cloak themselves as aliens and then convince human
beings to depopulate themselves. The whole AI entity the demon
from Beyond, And I want to go into the history
of how this has been used in pop culture to
prepare us for the acceptance of this entity. Like you,
I don't think that all forms of AI are necessarily
bad or evil, but I do think that if you
look at the people who formulated this system as we're
going to talk about today, and the way that pop
culture has formulated this. It's intended to get us to
submit to and interject ourselves into this matrix system. They
want an AI running everything. In fact, back in nineteen
sixty six, when doctor Carrol Quigly wrote Tragy and Hope,
there's a famous chapter in the middle where he says
that the future technocratic society would be run by giant
AI supercomputers. That chapter is overlooked because people always focus
on the other section where he talks about the bankers
and the banking elite and then arranging World War One
and World War Two for the purpose of a global
technocratic government. But it's not just that policy paper ethos
that gives us this ideology and the mouthpieces of the elite.
It's also a pop culture which in many cases was
working in a symbiotic relationship with those in power, with
those from this eugenics based establishment who wanted to create
this world, this future technate as some call it, that
would ultimately be anti human. And people have to understand
that alex is completely right when he talks about the
end of and the removal of all carbon based life
forms and the replacing of it with the silicon based
life form of some kind. If you remember, many years ago,
of course, Alex made endgame, and one of the key
texts in that endgame was the books that were written
by Ray Kurtzwel. Ray Kurzwell wrote The Age of Spiritual Machines.
He wrote the Age of Singularity or the Coming Single Larity.
And these books were really important for telling us where
the establishment, the real technocratic deep state, wanted to go.
It's not technology that's the problem. It's the programmers and
the plans and their ideology that's the problem. But before
we get to that, I want to talk about two
thousand and one, a space Odyssey. If you remember back
when when Clark was writing his famous trilogy, he wrote
two and one, twenty ten, and then three thousand and one,
and it's all about transhumanism. It's about post human existence
and reality and man's apotheosis through technology. In two thousand
and one, if you remember, Kubrick and this famous probably
one of the most famous movies, if not the most
famous movie of all time. I read it as a
kind of an alchemical allegory. I don't think it's about
all the same same things that other conspiracy people think necessarily.
But I do think the there's a message, there's a
story going on there that if we look at Arthur C.
Clark and what he was talking about, we get an
insight into this idea of the possibility of man's potheosis,
that is, becoming his own god through technology. In two
thousand and one, you remember the monolith shows up, and
that monolith is intended to be a future AI. It's
kind of like us in the future or the future
deity that is ultimately some kind of supercomputer, kind of
stepping back and giving us indicators and signposts as to
human evolution into the future and how we could basically
become gods on our own. Part of the reason that
Arthur C. Clark had this idea was that he was
in the circles of a lot of esotericists and occultists.
He was hanging out with Aleister Crowley, the most famous
Satanist of the last century, and Clark was interested in
putting that ideology into his science fiction. In fact, most
science fiction, you could argue, not all of it. I mean,
I think C. S. Lewis's Space Trilogy is a unique
exception which is an explicitly Christian sci fi story, with
Volume three being about the aliens identified specifically as demons.
And if you remember, in the third of the Space Trilogy, C. S.
Lewis put the Christian spirituality and ethos into that text
by making the demons want to depopulate all humanity. So C. S.
Lewis is really one of the best science fiction writers.
Even though everybody thinks about Narnia, they think about fantasy,
but in the Space Trilogy it's actually the demons that
want to cloak themselves as aliens and then convince human
beings to depopulate themselves. Now, if we go back to
two thousand and one, when the monolist shows up, which
is this sort of Luciferian cube or a kind of
a screen so to speak. In fact, in the original screenplay,
Arthur C. Clark had the intention of it being a kind
of a computer screen, and the computer screen would have
little read outs and it would be, you know, I
don't know, playing organ trail or something for the monkeys,
and this would then spawn the next phase or stage
of evolution as the movie progresses. As you know Bowman
who is the astronaut several thousand years into the future,
is ejected out of this sort of phallic spaceship into
the exploring the cosmos at another level, right, So they
find another monolith that's transmitting a signal, which is what
Alex was talking about, this signal that's been transmitted by
this entity, and you see these sort of diamond figures there,
these platonic solids that eventually direct Bowman to exiting this dimension,
this spatial reality. And I put in my book, in
this chapter that I did in my first book, you
can see here there's a cube, and this cube includes
all of the possible directions that you can go in
this dimension. You can go up, down, left, right, back, forward,
et cetera. Right, there's only six ways you can go
in this dimension. And the whole point of two thousand
and one A Space Odyssey for those that don't recall,
is that Bowman is eventually the first person to achieve
apotheosis through exiting this reality. So there's a Darwinian survival
of the fittest sort of exchange between him and how
they have this battle. Bowman ends up victorious in the battle,
so we think at least in the first one. And
what's not included in the film is what Clark had
in the original story, which is that star Child is
which is the rebirthed entity that Bowman becomes when he
exits the matrix. Believe it or not, it is actually
a matrix. The whole point of that sort of sequence
where he's exiting through the portal through the stargate is
that Bowman is achieving apotheosis through leaving the limitations of
dimensional time and space. So he's transcending the limitations of
time and space, the third and fourth dimension. He's going
out of the matrix. You see it looks like a
kind of a computer code. It looks like a bunch
of colors, and there were even platonic solids, those sort
of diamonds that were there. That's I think intended to
tell us that we are stuck in a dimension. That technology,
this is the story of two thousand and one. The
technology will help us to transcend. And so Bowman sees
himself in his own death there towards the end in
that Victorian room, and then he becomes a new being,
reborn as Starchild. And what's not in the movie that's
in the original Arthur C. Clark story was that Starchild
decided that this Earth was a giant failure, it was
a giant mess. And so there's a bunch of nukes
around Earth that nuke Earth, and Starchild starts over as
the god of a new universe. That's the storyline, at
least in the movie version of two thousand and one
A Space Odyssey. Now a lot of people overlooked twenty
ten because it wasn't as famous of a presentation. But
if you want to understand this Luciferian ethos, this Promethean
ethos of poshumanism or transhumanism from film two thousand and
one actually goes even further, and it goes back in
time and it tells us at the end of the
Cold War how the Cold War would give rise to
the technocracy. And it's actually a synthesis third way film
where you have the joining of the Soviet scientists together
with the American scientists, and once they get over their
petty squabbles and their nationalism and all that, and they
accept an international technocratic Star Trek Federation style attitude, then
we're able to overcome the limitations and achieve the next
level of apotheosis. So it's supposed to be ten years
after two thousand and one in the story version in
the books, and at the end of that film, Bowman
or hal Hellman, who's now become merged as this new
sort of divine transcended entity, speaks through these monoliths and
you get all of these monoliths. So now there's like
thousands of monoliths, and they can kind of sort of
change their size and their dimensions because they're outside of
this spatial dimension. So they're kind of like angelic beings
or deities or gods or something like this. And the
purpose of that story is to tell us that we
were actually seated here as kind of Luciferian beings by
this alien AI that now wants us to go forth
and conquer the universe. Now, I don't think that it's
wrong for humans to explore the no universe and all
that to the best of our capabilities. There's nothing wrong
with that. I don't think that technology is going to
make us gods, though, so I think we're always going
to be human, and I don't think that AI can
ever come alive or become conscious. Depends on how you
define consciousness, and so if you think humans are made
in the image of God, then they have a special
quality of soul that a computer could never have. A
computer is always just going to be code. But in
twenty ten, there's a specific statement at the end that
really it sort of identifies human beings as the children
of the Sun or the children of the light Bringer,
who are tasked with going forth and exploring the known universe,
which I think is explicitly Clark's version of a kind
of Luciferian Promethean deity in these same elite circles. Around
the same time that Crowley and Clark and people were
hanging out together, you had Alvis Huxley and HG. Wells
hanging out in the same types of circles, and they
wrote very similar treatises about how this is what was
really going on. You find Isaac Asimah of writing books
the Foundation series with very similar stories about Ai kind
of being a future quasi deity. So there's something I
think that these people are telling us through the pop
fiction and through their nonfiction writings about how they view
humanity as essentially monkeys or apes, and that they need
to be gotten rid of. And that's that depopulation narrative
that almost entirely runs through every one of the technocratic elite,
except for perhaps Elon Musk. He seems to be pro human,
He seems to be pro life. He doesn't seem to
have the same attitude whatever criticisms people have, at least
when it comes to this issue. He doesn't seem to
be for depopulation. Why would we not have as many
human beings as possible to go forth and to conquer.
You know, in Genesis you have the dominion mandate, and
I don't think there's anything that necessarily means that it
has to stop at Earth. If humans want to exp
I think they're free to do so. They can go
and do whatever they would like to do, because God
gave us that power, that free will, that potentiality too
that we need to actualize. In three thousand and one, however,
you have a presentation where Clark identifies and melds Bowmen
and how into this entity called Holman, and Holman becomes
the God of the Future, who is a transhumanist, post
human entity that sort of flies around in a spaceship
chariot computer that he's identified with and becomes a kind
of a god. So, I mean, I think the narrative
goes off into kind of some silly stuff. But the
fiction here is telling you and sort of preparing us
for the world that we're going into the world that's
now rolling out. And even the texts, even the stories
that were intended to be warnings, like Terminator and Skynet,
even those stories were actually written in consultation with DARPA
and the research and development parts of the Pentagon. And
if you look at on my shelf here or somebody
I got a gift, I think Jamie gave me this.
This was this is the Terminator hand and that Skynett
gets a hold of that they reverse engineer. So we're
being told, you know that through the UFO Alien syop,
that there's crashed craft and we're re engineering the technology
and all this kind of stuff. But I think this
is really a false gospel, is the best way to
put It's this idea that we're going to reverse engineer
the technology. The technology is going to allow us to
transcend time and space. We're going to get outside of
the six dimensional limitations and mortality that God put upon us.
And oh maybe that was an evil God that put
mortality and limitations upon us, and so now we can
transcend that through these silicon stages ideology, and that's precisely
what you get in today's transhumanists like No, you've all
Harari who wrote books like Homodaeus The Mouthpiece and Protege
of Claus Schwab from the World Economic Forum talking about
how the AI is now going to progress into a
kind of quasi divine avatar type of figure. In other words,
you'll have a little robot, you know, Buddhas and robot
Jesus is walking around. I'm not kidding literally, just like
THHX one win three eight. If you watch THHX one
one three eight, you'll see that there's a scene where
Robert de Vall goes to confession. It's one of the
best scenes in science fiction movies because it was so
dark and so empty and yet so predictive at the
same time. When Robert Devall goes to confession, he has
to confess to the AI god his sins in terms
of whether he was able to perfectly obey the technocratic
regiment or not. And he's told to take extra you know,
vitamin pills and this kind of stuff. Right, he didn't,
you know, so he doubted the AI. And what's funny
about that movie is that the humans are the ones
that actually build their own enslavement. And I think that's
a really key point that Alex was hitting on today,
was that we're building the thing that could potentially enslave us,
that could wipe out previous history. You know, Alex was
talking about the AI basically making all the Vikings black, which,
by the way, they would have pretty pimped out, you know,
Viking warships if it was if they were black. I
have to say that I don't think the Vikings were black,
but they would have pretty pimped out Viking ships if
they did. That'd be a good skit. Maybe good news.
Speaker 2: They got a bunch of methylene blue in quicker than
we thought. It may be sold that up to that
because it's medical grade and it takes time. But we've
got a big shipment in and so we're bringing back
the sale that was so popular, the methylene blue megasale
buy two bottles, get one free, that was so popular,
but also by four bottles, get two fo and when
you subscribe, it never sells out. They hold it back
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twenty five percent off when you subscribe. We're doing fifty
so you get locked in forever as long as the
algrostore dot COM's there. Fifty percent off incredible, so become
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the Alex Jones Store dot com.
Speaker 1: Welcome back to the fourth hour of the aust Jones Show.
We're talking about THCHX one one three eight and the
predictive programming elements within fiction, especially the science fiction dystopia
films from the last several decades, and what they were
telling us before we get to the actual text. Here
in a moment, I wonderfulint HX one one three eight.
You have this notion that history have been erased. People
forget this about the story. I would say, go back
and rewatch it. If you missed it. Because the people
are essentially enslaved in an underground base that's a factory
for building I guess you could say BDSM robots that
basically just beat people. They're like leather daddy cops that
beat human beings that don't act according to the AI regiment.
If they have I don't know, too many carbon credits,
they use up their carbon credits or something. So, but
the humans don't remember anything about their past, and they
think and all they know is that it's their job
to build their overlord bots, and the overlords, you know,
beat them and suppress them and whatnot. And of course
Robert de Ball is the sort of the Winston figure
who breaks out of this system, out of this matrix.
It's a kind of an allegory of the Plato's allegory
of the Cave story where he busts out and he
crawled out to sunlight and he sees the sunlight, you know,
much like Plato's allegory the Cave and you don't know.
I think one of the best parts of the films
that you don't know this whole time, that they're really
in an underground base and they're in a giant prison,
but their history has been erased. And I think that
that's kind of the point that Alex is getting to,
is the possibility of human history being erased, human history
being censored and suppressed by the AI. Once we start
to rely on AI as this sort of mouth of God,
this sort of oracle of Delphi, this dau Sex machina,
at that point, we're really in a danger zone because
now Kenny Loggins can't save us. Now we have to
essentially trust this entity that is beyond what humans have
programmed it to do. It can now program itself and
it can interact, as Alex said, with other ais that
further program other AIS. So the possibility of sort of
meta ais. If you watch a movie be like Her,
the Spike Jones film with Joaquin Phoenix, you see a
similar type of idea there in that fiction as well.
It's a dystopian vision of a person who falls in
love with his AI, the main character, and so it's
set in a near dystopian future, and Joaquin Phoenix is
a programmer who essentially begins a relationship and wants to
marry his operating system. And it's wild because I wrote
an analysis of that in my first book that came
out about ten years ago as Hollywood One. And now
we're at that stage. Now, we're at the stage where
human beings are actually beginning to develop relationships with their AI. Yeah,
there is a great film, very very prophetic. You know,
we're at the stage right now where essentially that film
is set. It's pretty wild, and Scarlett Johansson is of
course the voice of the AI. And if you remember
the story, the AI essentially decides that the humans are
really worthless anyway. It's not viable for this super intelligent
program to interact with a supremely inferior human being, and
so the AI goes off to have a relationship with
another AI, which of course doesn't make any sense, but
it really just shows the futility and the emptiness and
the nihilism, the techno nihilism, of the notion that human
beings can be fulfilled by having a relationship not with
God or with other human beings, but with a program
or with code. It's really kind of childish if you
think about it, but it's very prophetic. So we're at
that stage now. People are developing relationships with their AI girlfriends,
with their AI only fans models. Right, this is becoming
a real thing now. And you know, again it's not
AI that is necessarily the problem. It's how it's used,
and it's who programs it, and it's the ideology of
those the program and that's the real problem. And I
will say too that in that film, it's a great
it has a great positive message because you know, Joaquin
Phoenix learns at the end that he was really looking
for a relationship with Amy Adams, the actually human being
this entire time, the robot and the idealized you know,
image of this supposedly perfect entity that would be a
perfect girlfriend. It was fake. It wasn't real, and it's futile.
It's vanity, vanity of vanities. Now. Yeah, And that I
wanted to mention before we get into the text of
the Global Elite that really, I think prove all of
this that that is what they have planned. It's the
second technocratic dystopia, that's anti human, that's depopulation agenda. I
wrote my book Ster Collawood one about almost ten years ago,
and I've just finished the third book, so S J.
Clay with three is now available and in part one,
if you don't recall, if you don't have it, you
can go to my website and you can get the
signed copies in the shop at jasonallisis dot com. I
went pretty deep into Spielberg, Hitchcock, Kubrick, Bond films. I
went pretty heavy in the first one, but in part
three I went pretty deep into the mythology of transhumanism,
the mythology of Marvel movies and how they programmed us,
how they programmed the dystopian gender dysphoria that we have,
How Marvel films have really prepared us for this idea
of the technocratic dystopia. Some of the Marvel films had
good messages, so I'm not saying that in totality they're
all bad. Some of them actually had pretty similar messages
to what Alex was talking about at the time, right Avengers.
Some of those Avengers films, we're talking about depopulation, you know,
even the Marvel films that deal with Guardians of the Galaxy.
You have Fanos engaging in mass depopulation, and then you
have you know, Doctor Strange basically reversing that. So there
can be positive messages even some of the Marvel films,
but overall there's a lot of negative programming and a
lot of negative propaganda, and so I went into Christopher
Nolan films that I didn't go into in the first two.
I went pretty heavy into recent new classifications of Hollywood
A listers that were spies. So this has been talked
about quite a bit for many, many years, but in
the third book I went pretty heavily into it. So
you can go to Jasonelsons dot com in the shop,
if you go to my Twitter, my ex account, if
you sign up right there, you can get you can
pre order. The book will not be printed for another
month and a half, but you can go ahead and
get your name in and get your order as soon
as possible. The shot signed copies that Jays Analysis in
the shop Esthotery Holly with three sex, Culton, Apocalypse and film.
And of course I ended that with another almost providential
idea that I haven't covered apocalypse films, and here we
are with kind of the apocalypse of Hollywood itself. So
there's kind of a play on words there that Hollywood
is now at its end. And I'm not saying that
movies are going away. Obviously, we have Apple Studios and
Amazon studios and Netflix studios. So the studios are continuing
on with big streaming sites in the tech companies, so
the technue right, the tech companies are even taken over
now the making up movies. And as Alex was showing
earlier with those Google videos, I mean, of AI, it's
how long until we get our first like full on
AI movie. I don't think this is going to be
that interesting. In other words, I don't think everyone's going
to just stop watching movies and actors and they're only
going to want to watch completely AI movies. I mean,
maybe the first few will be kind of novelties or
something like that, and they'll be famous for being that.
But I don't think that we're going to be to
the point where we don't want to watch human creativity,
you know, human art and human actions. And if you
think about it, as Alex pointed out, I mean, the
AI stuff is really just a compilation of human art,
human people, and human activities anyway, So it's almost just
like smushing it all together and making it into almost
a more generic form of what humans come up with.
And I don't think we're ever going to get away
from that, right, We're never going to get away from
human art and human creativity and its humans that created
this thing anyway, right, So beyond that, though, we do
need to talk about the actual books and documents and
papers that vindicate what Alex has been talking about for
so long that most of the technocrats, most of the
people in Silicon Valley, most of the people in these
think tanks, in these systems, they have an anti natalist,
anti human perspective. In fact, that young guy that was
involved in the bombing I think of the car or
the the I forget was the Palm Springs bombing, is
what I'm trying to think of. He had made anti
natalist statements, he had adopted this nihilistic attitude that the
technocratic lead have. And so he's a perfect example of
the very thing that we're talking about and the type
of human being that the system wants to create. Who
hate humanity, who are nihilistic, That's who they want so
that they can roll out this system. And one of
the best books on this was an establishment text, an
establishing journalism text that I read back in the day
and I've lectured on many times. It's Annie Jacobson's book
The Pentagon's Brain, The Uncesserted History of DARPA and if
you go through this, she talks about the plans that
they have not just through using nanotech and chip implants.
It's not the old school notion of chips anymore. Now
it's moving into the domain of nanotechnology directly in our system,
in our blood. And she even talks about how this
is a form of mind control and actually comes out
of the older MK Ultra plans that people know about.
We've all heard about mind control and MK ulture and
CIA experiments that morphed into MK Search and MK Delta,
which was about biometrics, bioengineering, human modification, bodily modification, and
a lot of people don't know that even during the
war in Iraq, the US it's Deep State, it's Pentagon,
they were already experimenting on microchips, chipping the soldiers, using
drone warfare, even back at the time of the Iraq War.
I mean, drones existed even in Vietnam. But the war
game Dark Winter, all of these things involved DARPA using
the theater of war as a large scale experimentation arena.
It's not just that she actually gets into towards the
end of the book what Alex talked about earlier in
terms of the global Brain. If you remember back during
the Obama administration, Obama was giving a lot of money
to and talking quite a bit about the Salk Institute
and the Brain initiative there, and that's related to this stuff.
It's similar. And a lot of these programs come out
of the post two thousand and one era of total
information awareness and John Poindexter, who was involved in that,
and if you don't recall, the events of two thousand
and one became the justification not just for foreign intervention
and stuff like that, it became the basis for a
lot of the removal of our civil liberties. So Tucker
earlier today was talking about in Alex's cliff, the loss
of privacy, what we experienced when we go to the airport.
All of that comes out of two thousand and one.
None of that would have existed had there not been
the attack on Western liberties and civilization by the former
asset of the CIA, the al Qaeda. And if you
don't recall, the name al Qaeda is the base. The
base was the name of a base so that the
Mujahideen used in Afghanistan. That's Obama, she mean Freudian slip. Osama,
Osama Obama and Laden's fighters freedom fighters during the nineteen
seventy nine conflict that were then repurposed in the nineteen eighties.
They even make an appearance in James Bond films and
in Rambo. But they were a proxy and they were
also a theater of war for the West to experiment
on brain chips, in this case for supposedly PTSD. Oh well,
we got so many soldiers coming back in two thousand
and five, she says, with they've lost a limb, they've
got brain problems. Let's go ahead and start experimenting with
brain Now. I don't even think that that's all necessarily wrong.
I have a relative who has Parkinson's and they got
a brain ship that was able to stop the tremors.
So these things can definitely be used for good purposes.
But the problem is that the good purposes oftentimes become
the selling point for the more nefarious purposes of the
backdoor technology that can be put into it. In fact,
in Ray Kurtzwel's book The Singularity Is Near that he
wrote back in two thousand and five, there's a whole
chapter on VR and nanotech and metaverse, which Metaverse seems
to have not been super successful. They may rebrand it
though and try to roll it out as something else
in the near future. But he talks about how eventually
the chip or the nanotech or the whatever is placed
into us will actually be able to override the external
data that comes in to our senses and to enter
our eyes the external inputs, and it will actually be
able to determine what inputs, what signals come in, and
that would be he says, total mind control. It's pages
three fourteen and three fifteen, and then in three sixteen
and seventeen he talks about how eventually this will be nanotech.
It'll be nanoblood. You heard me right, nanoblood. In fact,
if you remember in James Bond the new reboot, the
Casino Royale reboot, there's a scene where they interject him
with a tracking chip, and then a couple installments later
they interject him with nanoblood. I think that was in
maybe Skyfall or one of the later maybe Specter. So
even the fiction with James Bond has been telling us
that this is what's coming, not old school John C.
John C. Lilly era microchips, but actual nanotech that would
be able to step in between the external data coming
in and even Ray Kurtzwald says, that's a recipe for
a real dystopia when the AI or the central computer
controllers can actually control the information coming into your brain
and what you see and what you don't see. She
goes on to talk about the reality of aerosol engineering
and spraying. This is in any Jacobson's famous book. So
that's actually a real thing. It's not made up, it's
not conspiratorial. It's a real thing to engage in geoengineering.
We've heard, of course John Brennan give talks about it.
That clip has gone around for years, but you can
go look up Edward Teller, and I believe it's either
Annie Jacobson or it's the Alex Ebeya book in the
Rank Corporation. I mean, they talk about the role that
doctor Edward Teller played not just in the Manhattan Project,
but also in being the father of atmospheric spraying and geoengineering. Now,
I was reading some critiques of you know, conspiracy stuff
from very well known prominent people out there recently, and
even those people who have a pretty good picture of
what's going on in terms of the general geopolitical landscape.
A lot of these people still think that geoengineering isn't
a real thing, even though you've got famous award winning
journalists writing famous books admitting that this was going on
in terms of Agent Orange, and you know, whether warfare
was going on world War two and in Vietnam, so
this is a real thing. But she talks about there's
a symbiotic relationship between the technology and the technques and
the technaque and the technocrats and the fiction. For example,
there's a chapter on the X Files and how a
lot of what was going on in the X Files
was actual real programs and plans that were being discussed
or being wargamed or being thrown out that were then
put in to the fiction as a way to prepare
or the way to warm us up to or social
engineer us. I mean, I'm not criticizing Chris Carter and
X Falls love X Fall is great series, one of
my favorites. But she's just simply pointing out that there's
a symbiotic relationship. In fact, she talks about Kathleen Kennedy,
you know, Terminator, that kind of stuff. A lot of
Spielberg projects that Kathleen Kennedy and other science fiction directors
and writers. I think she mentions James Cameron. I'm going
from memory here, but they actually were invited to the Pentagon,
invited to discuss Darper projects because the idea was maybe
we could get a bouncing ideas off of each other.
Like the science fiction writers could talk about what they
could see, what they envision as you know, future tech
doing and how it works, and likewise the actual DARP
Pentagon strategists could bounce ideas off of them. And so
it's a very important admission in this text that these
two work together, right, And that's kind of why I
wrote that trilogy on Esotary Hollywood, you know, starting ten
years ago, was that most people don't realize there is
this symbiotic relationship. It's not schizophrenia. It's a real symbiotic
relationship between the fiction writers and the culture bearers, the
people that steer our culture through movies and pop culture
and music, and the people who are planning things in
reality at the Pentagon, at that war game, at that
research and development level. It actually talks about Gail heard,
I believe. Let's say she says one of the Sigma
group members was Colonel Peter Garritson, a former strategist transformation
strategist at the Pentagon. In twenty fourteen, Garretson arranged for
me to come to the Pentagon with two colleagues Chris
Carter and Gaiale Ann Herd created X Files, popular science
fiction television drama uh and Gillen Hurd co Wrot wrote Terminator.
So they're at the Defense Intelligence Agency, they're at the Pentagon.
They're talking to DARPA about what's actually going on at DARPA.
And if you remember, in the last couple of seasons
of the X Files, Chris Carter actually included that really
important talk that Joel McHale gives for his TV show,
And if you watch that series, Joel McHale in that
series is pretty closely intended. It's definitely intended to be
Alex Jones. So the Joel McHale character is Alex. It's
called Truth Squad or something like that, right, And his
whole speech prior to COVID, prior to the release of
this Wuhan virus, the prior to the push for the
mass stabbies, all that was mentioned in that famous five minute,
four or five minutes talk from Joel McHale. I think
it was in the not the last season, but the
season right prior to the last season, which came out
around twenty seventeen eighteen somewhere in there. But that's because, again,
according to Annie Jacobson, around this time, you had Chris
Carter and Gillen Hurd, who was involved in Terminator in Skynet,
going and interacting with and talking to the R and
D and the people at the Pentagon. Now I'm not
alleging a conspiracy necessarily on the part of Chris Carter,
but if you remember, many many years ago, Alex Jones
interviewed one of the Lone Gunmen, which is an important
character a series of characters that appear in the X
Files narrative, and the character from the Lone Gunman was
talking about that the CIA would come and help consult
and tell them what they would like to be in
the script and what they would like in the X Files.
So it's not a schitzo thing. People, So oh, you're
you're skitzo. You think that the the movies are talking
to you, and you think the movies are telling you
what's going on. You know, the movies are reflecting what
the Deep State and the Pentagon actually is talking about.
And so many people for so many years have said
that this is just you know, insane conspiracy theorizing and whatnot.
Even though very famous texts will talk about the relationship
between the science fiction writers, the culture drivers, and the
people at the Pentagon, DARPA, et cetera. They do that
on purpose because it's very important to control the culture,
to mass control the people. And we're at an age now,
I think where that's getting harder and harder for them
to do. So you're getting the sort of divide between
people getting dumber and dumber and dumber. A large portion
of them who are kind of becoming like you know,
it's like the Eloi Morlock thing that ahgu Wells wrote
about in the Time Machine, and you've got other people
that are becoming more and more intelligent. They're using the
internet the right way. They're using it for a monetary
protoco calls like ethical money like bitcoin. They're using it
to actually get education, to actually get real information, which
I think intelligent people know can never be replaced with AI.
AI can be a more advanced, glorified search engine at
this stage, which is kind of what it is. I mean,
I use a crock as a quicker search engine. But
even these AIS, as Alex has pointed out, I've seen
them lying multiple times over. In fact, I asked, I
think it was Chad GBT the same question five minutes apart,
and I got the exact opposite answer. So there's no
way that, Like I mean, obviously there's some chicanery going
on with AI, and certainly they want to use AI
for social engineering. Everything from the Bantag's point of the
oligarchical elite is a type of or could be used
for social engineering, and AI really is just another dio
sex machina, a god from within that will be a
con a dupe try to get human beings to believe
that this entity can be a kind of god for them.
If you remember in the Foundation series, I'm going from memory,
it has been maybe ten years since I read that
Asimov has a fake religious cult of priests and people
like that in the future space Empire that secretly have
technology that the other people just don't know about. So
it's a giant AI system that uses future predictive algorithms
that they're able to track and trace large movements and
large trends and ideas they give them future predictive advantage,
but the average population just thinks, actually that it's a
religious thing. So again they're telling you something about this.
It's not a god, it's not religion. It's not going
to become conscious, not evolving to be a deity. That's
all a deception. But if you want to learn more
about that, you can go to my chain where I
lecture through all of these great texts, all these big fat,
boring geopolitical and establishment texts at Jasonelsons dot com or
my YouTube channel Jay Dyer, or follow me on Instagram
and Twitter as well.
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