Speaker 1: We die or welcome, thank you, glad to be here.
Speaker 2: In your book Esoteric Hollywood, Sex, Cults and Symbols and Film,
you take a look at a variety of Hollywood films,
including films by Stanley Kubrick, Alfred Hitchcock, the James Bond series,
among many others, and explore the secret messaging and symbology
embodied in them. Why do you use the term esoteric
to describe many of these films.
Speaker 1: That's a good question. I wasn't exactly sure what I
was going to toddle the book, so I had a
bunch of different possible titles, and that one sounded to
me the most mysterious. But I think it's also fitting
because esoteric course refers to something hidden or secret, and
what I try what I tried to do in the
book was kind of unveil those hidden secret aspects to film,
be it the symbolism that you mentioned, or be it
the realities behind screen screenwriters and their connections at times
to the CIA or the Pentagon and espionage, and lay
it all out. I tried to come at film from
a lot of different levels, and so I felt like
that was the most appropriate title, And I think I'd
already kind of been playing around with a podcast with
a similar title.
Speaker 2: You write that Hollywood has been described as the new Babylon.
What does this analogy signify, that is to say, what
are the parallels between Hollywood and what is understood to
have been Babylon, the ancient pagan empire?
Speaker 1: Right? Well, if we think about the way that the
Book of Genesis, for example, describes the Tower of Babel
and then eventually the empire Babylon during the days of
many of the Prophets and the Old Testament, we have
the idea of an oppressive kind of super state, right
that was deified or worshiped. One of the aspects that
was central to that power structure was the mythology behind
those empires. Every empire has its own mythology, and I
would say that that translates into the present day. The
British Empire had its mythology, and the American Empire has
its mythology as well. And one of the ways in
which that mythology is inculcated into the population or indoctrinated
into the population is their storytelling. And of course in
our day that is Hollywood. So many writers, as you said,
have in the past, most notably Kenneth Anger with his
kind of sex scandal book Hollywood Babylon. I thought it
was an appropriate image, but I wanted to expand beyond
just you know, lurid sex tales and take it into
the direction also of understanding how we're given our mythology
by the Pentagon, by the CIA and their influence. And
it's not totally the Cia, obviously Pentagon. It's also you know,
people creating stories and using their creativity, but unfortunately a
lot of times the state co OPI that the corporate state,
and gives us messages that they want inserted into films
as well. So it's a mix of both, and that's
why Babylon is I think an appropriate image. And if
you go to Hollywood you'll see the old sets from
I think, what is it did Griffith's Griffith's Intolerance film,
which is from Babylon. It's the architecture of a Babylon
from films that.
Speaker 2: Well, then how would you describe the mythology of ancient
Babylon and how it relates to Hollywood.
Speaker 1: Well, one analogy would be what the Babylonians were famous
for was, of course astrology, you know, the Chaldeans as well.
And the idea here was that we follow the stars,
who are in a way representations or the pathways of
the gods. And the way we would make an analogy
to Hollywood is that in the twentieth century, psychological warfare
and social engineers developed the pretty direct parallel to the
idea that the Hollywood stars could be the new trend
setters that we would follow. So they're almost like a
replacement for astrology in a way, like literally following the stars.
And that was actually the studied and designed by admin
marketing men, a lot of whom came out of the OSS,
which is of course the predecessor to the CIA, And
so it's kind of a science. It's a technique. The
Rand Corporation and the Tavstock is they've all studied stuff
like this, so it relates to movies. And in a way,
you know, you can have this idea of Babylon as
the gait of the gods, right, the pantheon of the
celestial deities and whatnot, and Hollywood kind of represents that.
Now it's kind of a gate to the human gods, right,
or the superstars that we view as gods who we
think lived this far off heavenly lifestyle in Hollywood Hills
or something, and really, you know, this is all concocted lies.
Speaker 2: You write that quote for Greece and in debased form, Rome,
the stage was sacred, where the dramaturgical interactions of the
gods were actually a form of magical invocation. Although the
idea of the theater as explicitly sacred is foreign to
the modernity, it was not for historic man, nor is
modern man's practice any less religious in regard to the theater.
Could you explain why you begin your book with film
as ritual.
Speaker 1: Yes, I think that the sentence that you read there
is attempting to do that. And so because the ancient
world viewed the plays, you know, Sophocles or even perhaps
virtuals Ania or something like this, they were all viewed
as re enactments of the the actions and life of
the gods. And what that did was, at least in
the primitive mind, was you were you were kind of
representing that reality. You were bringing it out of the
Golden Age or the times past or something and bringing
it back into reality kind of invocation. And even in
for example, Plato's dialogues, you can read Ion where Socrates
has a dialogue with some musicians and people from the
theater and they talk about how what they really want
to do is to become possessed by the God or
to become another character. And this is essentially what method
acting is if you study Stanislavsky or method acting. So
there is a direct parallel, you know, whether one believes
that it really is some kind of possession of an
entity or just a you know, a very deep skill
that that one takes on another identity or lives out
another character. Either way, it's something that goes back to
the ancient world, and we don't know everything about, you know,
how drama was conducted in the ancient world, but it
was very similar to liturgy. And if you think about
a Catholic Mass, or if you think about an Orthodox
a worship service, a liturgy or something like this, the
ideas that we're acting out through the worship service events
that sort of transcend time and space. They bring the
celestial of the heavenly or the eternal down to the
here and the now. And although most people don't think
about movies in that way or theater in that way
more properly, that is bound up with the history of
theater and acting, and what.
Speaker 2: Is the method, how is that taught? What does it encompass?
Speaker 1: I have one book by if you're talk about Santezelawski's method,
you know this goes by the term method acting. Many
of the famous A listers are method actors. And I'm
by no means any kind of expert in this. I
just know that his one of his texts, he does
discuss techniques and patterns for kind of letting your conscious
mind sort of drift away into your subconscious and attempting
as best you can to allow the character that you're
trying to portray to kind of come to the fore.
So and then he gives a whole bunch of other
kinds of techniques of how to really perfect his craft.
So you know, I'm not I'm not a super expert
on Stanvezlowski. And there's plenty of people I'm sure who
you know, who went to various acting academies. And but
but if when you see somebody, for example, like Christian Bao,
if you remember in The Machinist, when he took on
that role, he got very very deathly thin, like he
got sickly thin to play this role Jeremy Irons, you know,
Robert de Niro. These are people who attempt to do
method acting, attempt to become the character, and sometimes they
can have a very deleterious effect on the body itself.
Speaker 2: Yeah. I'm just thinking about a streetcar named Desire and
what happened to the lead actress that played that role.
Was it Vivian Lee? That's right, Yeah, that affected her psychologically, right.
Speaker 1: Yeah, I'm glad you mentioned that there are several cases
in the history of film where or I guess Theater two,
but I'm more film that there's several cases where people
have said similar things. You know, the famous story of
Jack Nicholson telling Eith Ledger, beware playing the joker, it'll
mess with your psyche. And yeah, there have been cases
like this, and I think it's probably real. There's something
to it. It's not just you know, Hollywood legends or whatever.
Speaker 2: In your book Esoteric Hollywood, the first film that you
take an in depth look at is Stanley Kubrick's last
film before he died, Eyes wide Shut. Throughout the film,
you write, the viewers eyes are wide shut to the
reality of the power structure. The power base is not
the average politician, wealthy doctor or a lawyer in New York,
which were the roles played by Nicole Kidman and Tom Cruise.
What is the film saying about the real power base
in society?
Speaker 1: I think Kubrick is consistently telling us about the real
power structure throughout his films. And you know, one can
debate to what degree this might have been involved in
his his death or not, and to what degree you know,
throughout his life Kubrick had to cooperate with the power structure,
like with NASA and the Air Force and making two
thousand and one. You know, that's all fine and well,
but I think that you know, when we see something
like eyeswait, shut, I think it's a direct illustration of,
as I said, the real power structure. So it's not politicians,
it's not presidents. These are as, doctor Carroll quickly said, frontmen.
They're the people who give the masses the impression that
they have a vote, that they have power, when in
fact the world is actually run by far more wealthy people,
oligarchs essentially. So if we consider the power structure, for example,
between behind the Catholic Church, it's pedophilia cases, and then
how that has connected to a lot of very powerful
politicians in various countries. This has been well documented by
court cases and journalists for many decades. Now, I think
that we get to see an insight in Kubrick's given
us an insight into that very point that the real
power structure is more like billionaires in the sense of,
you know, something like Blofeld from the Bond stories, than
it is you know, Donald Trump or Barack Obama. They're
more so kind of front characters.
Speaker 2: Now you've used the phrase a cryptocracy, a cryptocracy of
occult lie leads. So what does cryptocracy refer to?
Speaker 1: This is a term that comes from a fairly well
known book by Walter Bowert, who wrote Operation Mind Control
as one of the early texts on the CIA's m
k lture program, right after John Marx wrote his books
CIA and The Search for the Mature in Candidate, two
books that are not conspiracy books for save but actually
do rely on you know, a lot of sourced evidence
and whatnot. So Bowert described the the secret shadow government
of the US, the cryptocracy, CIA, Scull and Bones all
those networks as a cryptocracy because of the fact that
they do essentially a cult or secret or hide their methodology. Now,
it doesn't mean that everything is secret. Some things they're secret,
somethings aren't. But a lot of times this stuff is
made public so you can find For example, doctor Jose
Delgado is one of the m culture doctors. His books
are public. He has a public book called Physical Control
of the Mind. And so you know, when Walter Bowart
wrote his book, he's saying, look, we can we can
look at what the cryptocracy has published, and even from
what's public, we can get clear enough idea into the
methodology of how the social engineers, how the think tanks,
how the d nng o's, how the the the academics,
how the technocrats, how they all kind have worked together
to foster the same overall goals, even though they might
at times have differences.
Speaker 2: I'm speaking with author and radio and television host Jay
Dyer today's show foreshadowing ritual and symbology in film. I'm
Bonnie Faulkner. This is Guns and butter. Well, now I'm
hoping that people have seen Stanley Kubrick's Eyes Wide Show,
but otherwise they wouldn't know what we were talking about.
Could you sort of simplify the narrative of that film.
Speaker 1: Yeah, Basically, it's the story up two of a couple
who's having marital sexual problems and their upper class, elite
sort of New York socialite level. He's a doctor, very
successful doctor, and she is an artist or an our teacher,
if I recall. And my thesis on the film is
that they view themselves as sort of the top of
the totem pole. You know, where else could you go?
We've got it all, we're at We're the elite in
a way. But they realize that they're encountering I guess,
somewhat typical marriage type issues, and the Tomkers character is
sort of tempted to find sexual gratification elsewhere, and this
sort of leads to a chain of events, a kind
of of snowballing effect of him kind of wandering around
outside of marriage on the town and encountering a series
of so called coincidences that lead him to this big
estate where there is a masked ball, sort of a
Renaissance style orgy going on at this elite estate. And
it does, I think, have very conscious satanic and Crollian
elements to the mask ball. It's very much a ritual.
I don't think there's any question about that, and that
I think suggests that many of the elite are into
these kinds of occult practices, especially something like the followers
of Croley. So what happens is that he goes through
the ritual, but he doesn't fully embrace the ritual. He's hesitant,
and he is essentially kicked out and found out to
be and interloper. Right. He's not welcome there. He didn't
have the secret password, the Tom Cruise character that is,
and so he heads back home and we are kind
of left with the unclear impression that maybe even his
wife was there, because she seems to know what he
was up to. She has a dream about this, and
of course many people who interpret the film they debate
whether or not either she had some sort of preternatural
suspicion of him being there or whether she actually was there.
It really doesn't matter because the point I think that
the Couper is trying to convey to us, in my view,
is that you know, the real world really does operate
like this. This is the real power structure of extremely
wealthy people who are far above politicians, and the rest
of the film's narrative, without giving too much away, if
you haven't seen it is that the cult essentially has
at its it has basically all the powers and functions
of an intelligence agency. They're able to have Tom Cruise's
character survey oled followed, they know everything about him, they
have moles everywhere, and they're able to even craft news
stories to cover up murders that the Cult is able
to engage in. And this is really what some writers
have called the CIA, the Cult of Intelligence right them,
that's who could pull all this stuff off. And as
many histories of espionage have noted, the CIA is more
like a private, private intelligence army for the Rockfellers. You know,
it is the Rockfellers and British intelligence who established the CIA.
So I think Cooper is roughly hinting at a lot
of these different things. It's a kind of an overall
portrayal of the power structure. And that's why he called
it eyes White shut, because most people just think that
the the world is ruled by politicians and bureaucrats, and
it's not. It's ruled by you know, extremely wealthy finance
capitalists and corporates.
Speaker 2: You're right that both Polanski's The Ninth Gate and Kubrick's
Eyes Wide Shut were filmed in Rothschild mansions. I didn't
know that, I'm sure.
Speaker 1: I'm trying to think off the top of my head.
I don't remember the name of the estate, but I
think I mentioned it either in the book or or
somewhere else. But yes, I think the Polanski one. It's
not presently owned by Rothchild's, but it wasn't one time.
And of course the Rothchilds owned multiple estates in Europe
throughout you know, the last several centuries. So so it's
not hard. It's not hard to believe, given the fact
that I mean that they had, like, you know, tons
of palaces. So but yes, it's also if I recall
the mansion that you see in Batman The Dark Knight,
the you know, Christopher Nolan, Kristen Bale Batman, that's also
the Rothchild estate there, and it has a very interesting history.
It's it's a in a state that the Beatles did
a lot of transcetal meditation with Maharishi mash Yogi with
so it's a very colorful history to that estate. And
I think it's since been sold off. It's not owned
by I think it's like an ucum, it's owned by
the state or something. It's not probably I don't think.
Speaker 2: You mentioned in your book, and I just mentioned Polanski's
The Ninth Gate. Now, not only have I not seen
that movie, I wasn't even aware of it, but the
photos in your book, it looks like it's similar to
Kubrick's Eyes Wide Shut? Is that.
Speaker 1: I think so? I think they if I recalled they
both came out in nineteen ninety nine. They both have
very similar themes. Kubrick's film is not really interested in
the supernatural, and then the Plansky takes it in more
of a consciously supernatural and Luciferian route. So this is
another indicator. I would say that, you know, Polanski was
telling us things about the underground networks in the US
back when he did Rosemary's Baby, and I don't think
that he ceased telling us kind of what was going
on up into nineteen ninety nine with The Ninth Kate,
and so in ways, it's kind of a version of
Dante's Inferno, where the lead character Philip I think is
Philip Corso or something like that. The Johnny Depp character
is a book dealer who's led down into the underworld
and he meets various characters who are seeking Satanic or
Luciferian power, and without giving too much away, he discovers
it in a way that he neither heat nor anyone
else expects.
Speaker 2: You know, you mentioned Polanski's Rosemary's Baby. That was a
powerful thing. I've seen that several times. That was really creepy.
Speaker 1: It is pretty creepy. I had, In fact, we did
an episode of Hollywood Dakota, my TV show on it,
and I think they cut that one, which kind of
sucks because I think it would have been a really
really cool episode, but it never it never made it
to airing, so and I think they cut it because
they decided it was too dark for Guya's streaming network, So,
you know whatever. But it is a creepy film. I
think in ways we've got back and watch it now,
it's kind of silly, it's kind of cheesy, but there
still is a creepy element to it, especially when you know,
you look at the Dakota Building where it's filmed, and
the weird history of the Dakota Building with the assassination
of John Lennon and other weird films that have been
filmed there. If you watch Vanilla Sky, I don't think
it's accidental that they put Tom Cruise is kind of
fancy condo in the Dakota building, which isn't a weird element.
I haven't really gotten to Vanoskay yet, but it definitely
deserves someone else's. And then of course you have the
the overtly you know, satanic element of trying to bring
in the Satanic aon with the impregnation of the mia
Faro character. And but I think we can't forget the
other element that a lot of people forget, which is
that her husband, who's in on it, his whole reasoning
for all of this is because he wants to make
it in Hollywood. So he wants to be a famous
actor in Hollywood. And part of his reason for going
along with this is that the Satanists in Hollywood can
hook him up if he goes along with, you know,
with the plan, with their plan for Rosemary.
Speaker 2: You know, what I thought was very interesting and original
about Rosemary's Baby was the portry of the Satanists. They
were almost comical and sort of pedestrian, right, which was
a real kind of an interesting twist some people. Yeah,
a couple that could actually blend in with the general population,
and you would never suspect a thing.
Speaker 1: That is an interesting point. Yeah, most of the time
you kind of had this cartoonish, silly portrayal. And if
I recall, I think Anton Levy was the consultant and
is who's wearing the beast costume in the in the
scenes with Rosemary so in the bed. So yeah, I
think that probably in the mind of Leavey, who was
also a very cartoonish character, he would wear you know,
satanic costumes and whatnot, look like something from a B movie.
But maybe at the same time he was also you know,
consulting that look. Satanism can also take on a very subtle,
mundane appearance as well.
Speaker 2: That's very interesting. I didn't know that Levey was associated
with that film. I had no idea about that. You know,
while we're on the subject of Roman Polanski, in my view,
he's such an excellent, excellent director and one of the
greatest movies ever made in my opinion, is Chinatown. Chinatown,
and he directed that.
Speaker 1: Yeah. We actually, surprisingly the Hollywood Decoded episode that did
make it through from Polanski was the Chinatown episode. So
I'm very proud of myself and Jay Widner in terms
of the episode that we filmed about Chinatown, which if
you're not aware, I have a TV show with filmmaker
Jay Widner on The Guy at TV Network, which you
can you can watch on Amazon Prime or through Guy
or whatever. But we did I think twenty something episode
nineteen twenty episodes of film analysis, very similar to what's
in the book, and one of the episodes plans Ky's Chinatown,
and I think, once again, you know, whatever you think
of Polansky, we do have an insight into the power
structure because there it's the Los Angeles power structure William
Holland and kind of a commentary on how Los Angeles
in the I think it's in the twenties, if I recall,
came to be through corporate subterfuge, through the privatization of water,
and it was just a very crazy, wild story which
is loosely based in reality. That's not exactly true, but
there are some weird parallels as well, with the fact
that William Holland is played by John Houston or the
guy who stands in for William moholland who and John
Houston the actor director was, according to Steve Hodell, the
son of George Hodell, the famed suspect in the Black
Dolly ritual killings. It's actually John Houston was in the surple,
very close friends with with George Odell and supposedly participated
in these sort of ritual orgies and satanic celebrations that
George George Odell was involved in. So you know, again,
what is Polanski telling us here?
Speaker 2: So who was making these claims about John Houston.
Speaker 1: Well, it's in two different books. If you read the
Dave McGowan's book Weird Scenes Inside the Canyon, there's an
extensive discussion about the likely thesis that George Hodell was
the Black Doll or one of the Black Dollia murders
as long, along with Man Ray. And I don't think
that the accusation is that John Houston was a murderer
per se, but that he was a participant in their parties,
and that that also is corroborated in Steve Hodell's book
Black Dahlia Avenger, which is the central argument that he's
you know, he's I think a police detective for something,
but he's saying that it was my dad, my dad
was the Black Dahia killer or him and other people
like surrealist artist Man Ray.
Speaker 2: But anyway, certain people think that this is true and
are making these claims.
Speaker 1: Okay, right now, this is not my accusation. These are
again this is in Day McGowan's book, and it's in
Steve Hodell's book Black Dolia Vendor.
Speaker 2: I'm speaking with author and radio and television host Jay
Dyer Today's show foreshadowing ritual and symbology in film. I'm
Bonnie Faulkner. This is Guns and Butter. Getting back to
Kubrick's Eyes Wide Shut. What is the symbolism of the
pillars in the film? For example, you have a picture
in your book Esoteric Hollywood that in the beginning Nicole
Kidman is standing between pillars.
Speaker 1: Well, admittedly this is a little bit of kind of
a loose interpretation on my part, but we do know
from Kubrick's films and his commentaries that he was very
attentive to detail and very very meticulous about what images
and symbols appeared in the films. So there's no question
about that. And he was, you know, again, a freak
for detail and continuity. So I don't think the scenes
are shot accidentally or just because they look good. I
think they do have a significance and I think that
the opening sequence with the two pillars could suggest, you know,
the ideas of masonry, the idea of the lodge with
the two pillars Jacin and Boaz, which derives ultimately from
Solomon's Temple in the Old Testament. That's how the the
Freemasonic lodges adopted the two pillars in their system. And
it's really kind of a it has a multiple layer
aspect to it, towards interpreted to be different things. Sometimes
it's day and night. Sometimes it's you know, ealectical tensions
between good and evil. Sometimes it's just male versus female. Again,
it's just really suggesting duality. Two sides of the of
the Cabbalah, for example, the two pillars, the two mercy
and severity sides of the cobblistic tree. You know, Albert
Pike says that this is all what masonry is based on.
So I think that perhaps Kubrick is suggesting that. I mean,
there's a lot of evidence that, for example, two thousand
and one is based on cobblistic ideas and imagery. So
I don't think it's out of the realm of possibility
that Kubrick is including that in Eyesweight Shut as well.
So the idea of you know, Nicole Kidman sort of
being half naked there. And then the idea here is
that you're looking into the secrets of how the occult
elite or the social engineers, how they rule us is
in many ways through controlling our sexual desires through the libido.
That's a Fortian theme at least, and there's no doubt
that there's Forty in elements throughout kubrick films, absolutely, and
so I think perhaps what he might be saying is
that you know, you in a way, you're peering into
what you think is the sex lives of other people.
There's kind of a meta fourth wall level analysis that's
broken here. And with the fact that at the time
Tom Cruise and Nicole Kimmen actually were married, and you
know that the paparazzi were always talking about their sex
lives and crazy stuff like that. So so there's that
element too. There's a lot of different layers going on here,
but you know the fact that we're looking through the
two pillars and to see the bare naked woman, the
A list star or something. I think this suggests that
you know, Kubrick is saying you are a sort of
a porn obsessed society. You're you're controlled by these by
this libido desire and you don't even realize it.
Speaker 2: And also the setting, the time of year, this ease
and where eyes wide shut takes place is Christmas. What
is the significance of that?
Speaker 1: Do you think that's a good question. I'm still not
positive that I have that figured out, but you know,
it could be Kubrick is playing on the idea of
the commercialization of Christmas, that this is another aspect to
to how we are controlled through consumerism, this idea that
the whole holiday is supposed to be about giving of
gifts and and and you know, self sacrifice and that
kind of stuff giving, and it's all been inverted to
be about consuming, about you know, think about the the
the lines of people that that stand outside of you know,
to get the latest plastic thing from China or whatever.
You know, it's a never ending kind of consumer black hole.
That's what Christmas represents. And it also could be that
he's saying that, you know that from the perspective of
the social engineers, Uh, it's it's an it's an attempt
to invert the message of Christmas because a lot of
Satanic imageries of course based on inversion. You invert the
thing to give it its dark power.
Speaker 2: Well, yes, sort of a jarring to watch that movie
with all the Christmas lights and the Christmas parties and
the decorations, and yet at the same time the film's
message is so dark.
Speaker 1: It is very dark. Is it perhaps talking about you know,
pre Christian times of you know, solstice and that kind
of stuff. You know, it could be.
Speaker 2: Right now in ice wide shut. There are many mirrors.
You point this out in your book, Our mirrors symbolic
and if so, what are they symbolic of?
Speaker 1: They are? Yeah, I mean this is kind of a
prevalent symbol in literature, There's no doubt about that. And
most of the time it refers to the self or
the soul or the psyche and self reflection, self actualization,
perhaps depending upon what context it's used, but I would
say that in the context of ours watch shot, one
of the layers of the film is about the individual's
realization of what he really is, what he really represents. So,
for example, the beginning, seeing that when they're having an
argument about sexuality within marriage and attraction, Nicole Kimmen actually
catches Tom Cruise in a lie. She says, were you
tempted or attracted by the two girls that hit on
you at the party? And he's like, oh no, I
would never And she's like, you've never been attracted to
another woman? And Tom Cruise insists that he hasn't, and
he's lying to himself, and she knows that he's lying,
and he knows that he's lying. So there's another element
a lot of people miss throughout the film when you
get focused on the esoteric stuff, which is about reflection
and about realizing how we all wear masks. That's another
theme throughout the film that's kind of I would say,
grounded in the existentialism of Jean Paul Sartre, which you
know Sartre said that we're all kind of wearing masks
and we're we're not admitting that our true authentic selves. Right.
That's a part of this film too that people overlook.
Speaker 2: Yeah, you talk about that. Actually, you have some of
photographs from Eyes Wideeshet in your book where there are
masks on the walls of the different interior scenes in
the movie.
Speaker 1: Yeah, the Whoreror Domino, when Tom Kers visits her apartment
when he's you know, when he comes really close to cheating.
He doesn't do it, but becomes close with the prostitute,
and we see the masks everywhere, and so you know,
it's very This prostitute has a line of books dealing
with the sociology and psychology, which is, i would say,
a little bit out of place for the average prostitute.
And in my view, that suggests that she was actually
part of the ritual. So it would appear that throughout
the story, and this is my thesis on the film,
it would appear that the characters that Tom Cruise keeps
sort of interacting with and by chance meeting, it's not
by chance. He's actually being led to the ritual.
Speaker 2: Is human sacrifice the theme in Eyes Wide Shut.
Speaker 1: It is because the beauty queen, whom Tom Cruise's character
had earlier sort of checked on and helped through an overdose.
At the beginning of the film, she has overdose in
the upstairs apartment, cheating with Ziegler at the party. She
later sees him and realizes that he's come to the ritual.
My theory is that he was brought to the ritual
on purpose. The whole thing was kind of organized. But
she has said the whole time that she wants out
of it. She's a drug addict because she doesn't want
to be in this cult. But there's no out of
this cult. And so whatever her sort of strange laws
or rules this cult has, she has to offer herself
as his redemption. And she does because you know, she
wants she wants out in the most extreme sense, like
she's willing to die. She's already been, you know, trying
to overdose, and so she says, well, I'll just give
it up and you know, he can have my place
or whatever. So that's my theory on is that this
is a class of elite. There's a strict class system.
This is part of it as well. You know, Kubrick
is a pretty constant critic of the class system, going
all the way back to Spartacus. Kubrick is saying that
you're not going to reach a certain level no matter
who you are, right, I mean, in other words, you
can if you're Tom Cruise in your upper middle class,
you know, lower bourgeois whatever, You're not ever going to
be in this class of people. And that's what Tom
Cruise can't fathom. He's being inducted into the cult. That's
kind of one of the debatable topics the end of
the film.
Speaker 2: Why do you think Stanley Kubrick's final movie, Eyes Wide Shut,
is important.
Speaker 1: Because it shows us what really goes on. As I
said earlier, we have been exposed to this kind of
ritual abuse in the Roman Catholic Church, this kind of
pederasti in other situations like Penn State, Jimmy Savile and
if you think back to the Dutreux affair in Belgium
and the elite of Belgium that we're involved in. That
I think Kubrick's giving us a window into what really
goes on. That's why it matters.
Speaker 2: Can you discuss some of the movies that included foreshadowing
of nine to eleven?
Speaker 1: Yeah, there are a bunch of those. One of the
clearest ones is The Matrix. You have Neo's information file
that Agent Smith has on him. This of course takes
place in the future. Neo's date of birth is nine
to eleven, two thousand and one, and that's I think
a curious thing just randomly stick in there, especially given
the fact that the second Matrix film includes. Now the
Matrix came out in nineteen ninety eight or nine, but
the second Matrix film includes a giant terror attack on
a building that is you know, controlled demolition. So there's
some weird stuff in there. Other films are a little
clearer than this, I would say, like the pilot of
the Lone Gunman series, which is the XOLE spin off.
The pilot air I think six months or so before
the events of nine to eleven, and you have hijacked radio,
hijacked airlines that are attempting to be flown into the
World Trade towers by a rogue shadow group within the
US government. Again, I think that's very clearly hinting at something.
We also have a lot of films that were preparing
us for the idea of the large scale Arab terror attack.
The first of these that's a blockbuster, is true lies
the James.
Speaker 2: Cameron was that an Arnold Schwarzenegger mood. I saw that
that was upsetting.
Speaker 1: It's the first blockbuster Arab terror villain attack film. Now,
I'm not saying that that means that that James Cameron,
or I think it was James Cameron, but I'm not
saying that that means that he was secretly involved in it.
That doesn't have to It doesn't have to be to
be like that. I mean, what can happen is you'll
get consultant, you know, like if you want to use
aircraft carriers or military equipment. There's a great book on
this about the Pentagon and the CI in Hollywood, David
rob His book on this describes how the usage the
military equipment requires that you kind of go along with
certain narratives that the Pentagon might want, like we want
you to portray the military good in your film, and
then you can use our tanks and helicopters or whatever
in the back round. Or it might be something like,
you know, if you want to use our equipment, we'd
like to go ahead and start maybe easing up the
American population to the idea of the Arab terror attack.
We think that the Arab terrorists are coming to get us.
So this would begin to be put into films another
film that not just me, but actually a professor Elliott Gaines,
who's a professor at something like University of Iowa. Maybe anyway,
he wrote an essay a long time ago that's since
been i think published into a book about symbology and
film and pop culture. And he also noticed a long
time ago that the imagery and symbolism of Independence Day,
which came out prior to nine to eleven, is chalk
full of imagery, kind of preparing the public for large
scale terror events and specifically the demolition of big scale
buildings in New York by this quote alien threat. And
again if you think, well, yeah, but it's aliens, it's
not Arab terrorists, well, actually, if you go back to
the Cold War, you can study how the military was
using the alien phenomenon in science fiction as part of
psychological warfare. Because in the mind of the average viewer
when they're watching, for example, the Twilight Zone and you're
seeing all these alien threats against the US military. The
reason that the Twilight Zone quite literally had Department of
Defense consultation was that it was seen to be part
of the Cold War. Because the human mind associates any
external threat as an external threat, doesn't matter whether it's
in fiction, it's aliens, and then the news tells you
it's you know, the commis or the the the are
of terrorists. That's the way psychological warfare works. They know
that the subconscious will associate the two, so you can
actually use fictional aliens as a staged fake threat to
control the population.
Speaker 2: I'm speaking with author and radio and television host Jay Dyer.
Today's show foreshadowing ritual and symbology in film. I'm Bonnie Faulkner.
This is Guns and Butter. Now we're talking about examples
of predictive programming in movies. There's also television. Now, you
mentioned The Lone Gunman. I saw that that was just
an incredible example, right down to who the perpetrators were.
Speaker 1: I would I don't doubt that there's absolutely one or
percent CIA connection between between these groups, and that's how
the messages put into fiction. In fact, Dean Hagland from
The X Files and The Lone Gunman has given interviews
where he said that when you know, when we were
on the set of X Men, we would have CIA
consultants telling us what they would like to see in
the episodes, you know, on set. So you think what
that's crazy, Now, just go look up Chase Brandon, Look
up Milt Bearden. They are famous CIA liaisons and consultants
for calltless films, everything from The Meet the Fowkers, if
you've seen the Ben Stiller comedy, either Chase Brandon or
Milton Beard and consultant on that The Recruit with al
Pacino and right Felipe that was a CIA made film,
Kathleen Kennedy and her Zero Dark thirty and these are
all quite literally CIA movies.
Speaker 2: Right. I was about to ask you, what are some
of the movies and TV shows influenced by the military
and the CIA.
Speaker 1: There are thousands of them.
Speaker 2: Yeah, and why do you think they have such a
strong and broad influence on Hollywood?
Speaker 1: Well, because Eberberne said, Hollywood is the most powerful engine
in propaganda the world has ever known. So if you
are a military, Pentagon, CIA person, you want to influence culture,
You want to influence minds, You want to do the
basic kind of stuff that Sun Zoo talked about, making
sure that people do what you want them to do.
So what better way than conditioning them through fiction. How
many people are going to see James Bond as opposed
to reading some World War two history book?
Speaker 2: Exactly? Can you describe some of the ways the cartoon
show Gi Joe revealed certain military technologies we have today.
Speaker 1: Yeah, this is a very striking and kind of one
of one of the most amazing aspects of the whole thing.
Blued or Not was because I grew up with with
G I Joe in the eighties. I was a kid
of the eighties, and and every kid who grew up
in the eighties, you know, play with g I Joe.
And so one of the first tier level one conspiracy
things that you learned about this is that that's military conditioning, right,
and that that's not too far fetched when you start
to think about, well, yeah, I guess that does make
sense why g I Joe was introduced to, you know,
give the idea of join Uncle Sam in the fight
against all the bad guys, and that makes sense. But
why is that crazy? Well, it gets a lot deeper
than that, because in the narrative of G I Joe
in the cartoon series in the eighties, I mean you
actually have episodes that are dealing, for example, explicitly with
the Federal Reserve of all things, and how the fiat
money isn't real. And there's actually an episode where Cobra
institutes Cobra currency and he goes into this this rant
about how the Federal Reserve is a fiat money, it's
not real, and Cobra currency will be backed by gold
because gold is you know, the true true standard for
how currency should be back I remember when the first
time I saw that years ago, I was like, well,
that's kind of weird. Why would that be in G
I Joe? And then I started rewatching the G I.
Joe cartoon episodes and I started noticing consistently, Oh, well,
here's one episode that's about sky Neet and the creation
of like global surveillance you know. Okay, well that's kind
of a science fiction thing, and I guess that's too weird. Well,
then another episode we start seeing a geoengineering weather modification.
I'm thinking, well, that's a little bit stranger. Why would
that be a G I Joe? And then the next
episode you're watching it, it's about quite literally mkulture. They're
referencing the military study in My Control Now. Of course,
most of the time in the G I. Joe cartoons
it's Cobra. It's the bad guys that are doing it,
but in some cases there's even episodes where the good
guys and the bad guys have to link up. For example,
Cobra is a terrorist organization in the narrative of the
G I. Joe, but there are some episodes where G I.
Joe has to link up with Cobra to fight a
common enemy, and I'm thinking, well, that's that's very bizarre,
because did the military have to supposedly link up with
the jiahaties right to fight the Soviets? That was the
American narrative even into the eighties. In fact, the Living
is it's either I think it's Living Daylights, the episode
the Bond film in the eighties eighty seven, I think
with Timothy Dalton. In that film, Timothy Dalton teams up
with a quite literally a bin laden character and then
mujah Haden to fight the Soviets. So even into the eighties,
you know where they were still promoting the narrative of
the Jihad and the Musja Hadeen as the freedom fighters
to good guys, and even in Gi Joe at times
the terrorists are our allies. So it gets crazier and great,
you can keep going and keep going with nanotechnology and
all this this really far out future tech was placed
into the eighties g I Jo series.
Speaker 2: How has the subject of mind control been portrayed in movies?
Speaker 1: Well, that's a very big question y. When when Hollywood
began to consciously work with, you know, the narrative of
something like mentoring candidate if if you've seen The man
tred Candidate, you kind of get the presentation that the
Soviets are up to this and the commedis are going
to brainwash all of our POW's and all that. And actually,
Walter Bower and his great book Operation My Control, he
makes a very powerful argument that that that was itself
kind of a sile, that that what the American military
was doing was trying to have a justification for their
own large scale psychological testing and my control experiments known
generally as MK Ultra, under the guise of saying, well,
the comedies are going to do this to us, right, Well.
Speaker 2: You brought up you brought up The Manchurian Candidate, the
original one, which is one of my favorite movies. That's
an incredibly good movie. Yeah, it does good movie, Oh,
unbelievable starring Angela Lansbury. And that came out right before
the Kennedy assassination, didn't it exactly prefigured that whole thing?
Speaker 1: Oh? Absolutely yeah. I think we did a long time ago,
we did an article or a video, I can't remember,
it's been several years where we discussed just that very thing,
that the similarities between what you're talking about and Jeff
k There's also if you think of the Gene Hackman
film The Conversation, which is a very Yeah, that's a
very well done surveillance film where he kind of goes crazy.
That actually came out right before the Watergate stuff, and
other people have noticed the strange parallels to the Watergate
surveillance and Conversation. So the predictive programming aspect of things
appearing in fiction before they appear in so called mainstream reality,
it goes back a long way, you know, it doesn't.
It's not something that started in the nineties or two thousands.
I'm all the time funny examples like this, and and yes,
it's absolutely similar. When it comes to assassination attempts. There's
another great example of this that kind of hearkens to
JFK and maybe the other assassinations or attempted assassinations in
the Warren Batty movie, The Warren Batty movie, The Parallax View,
The Parallax View. Yeah, thank you.
Speaker 2: Yes, I always get mixed up about that movie, and
I've seen it twice, but I can never remember the
narrative of the thing.
Speaker 1: Well, he is a reporter who goes into investigating this company,
this this shadow private entity that appears to be recruiting psychopaths,
people with the you know, murderous and sort of psychopathic tendencies,
and he's very curious as to what is the purpose
of all this, and so he ends up applying to
to go through this company's program. It turns out it's
a giant mind control program and they're they're wiping people's
brains and they are looking for the perfect Patsy, And
of course turns out Warren Baty fits the profile of
the perfect Patsy. So spoiler alert, I'd kind of give
it away, but it relates to the assassination of a
i think a populist politician or something to that effect.
So there's definitely some meat there in ways similar to
kind of a clockwork Orange another Kuber film, where Kubrick
is telling us about the Tavistock style brainwashing attempts to
condition the public and the masses to have no to
have no virility, no drive, no desire for change, to
just be to be passive and apathetic. That's essentially what
they do with the the udlum character Alex in the
film that you know, they turn him into a docile,
sort of sort of zombie.
Speaker 2: And finally, could you describe what happened to your word
Press account.
Speaker 1: I was basically I'd been with WordPress, I think for
nine or ten years, and they had a very strong
reputation for free speech. You know, my blog didn't include
anything significantly dangerous or violent, never call for violence, no
no affiliation with any fringe radical groups or anything like that.
So there wasn't really any any cause for removal or
in terms of violation of their terms of service. But
basically the site was just removed one day. So they
give you seven days to export your site to some
other place. And after a long time, I did finally
get an email from WordPress explaining what it was. And
the email had no substantive explanation. It just said it
said basically the same thing that I was told when
it was taken down, which was that your site violates
our in terms of service. So no example, I don't
I was never told what violated terms of service. I mean,
I'd been there for ten years. I was not just
a free customer. I was a long time paying customer
with the premium platform. But none of that got me anywhere.
So I was removed at the same time as a
lot of alternative journalist media sites were removed the same day.
Speaker 2: Jay Dyer, thank you so much, thank you.
Speaker 1: It was a pleasure.