Speaker 1: The planet's tough.
Speaker 2: The masters almost surely have a plan.
Speaker 3: This clearly made me.
Speaker 4: Something there beyond the realm of men.
Speaker 2: And until you Flody tested, every last school's tested you
a fine.
Speaker 4: The more you think you know, the less you really do.
Speaker 3: That's true, doctor, Say, where would.
Speaker 2: We be without tec because we know that audienciers just don't.
Speaker 1: Know what to creed?
Speaker 2: Yet, where would we be without dec the Highest Side
chat Show, Red Car Company?
Speaker 5: All right, Higher Side Chatters?
Speaker 4: We know that from the printing press of the film.
Real mediums of mass communication have always been weaponized and
used as the main vehicles for propaganda and culture creation. And,
along with the school system dead set on churning out
obedient servants to the management, last movies and media act
is the pacifiers that make many people just content enough
with their life of servitude. Well, today's returning guest, Jay Dyer,
has been picking apart the Titans of Tinseltown for many
years on his website Jay's Analysis, where he methodically breaks
down dozens of films to expose the hidden agendas and
symbolism they contain. He also writes extensively on philosophy, geopolitics, history, conspiracy,
esoterica and more, and we got him here hot on
the heels of his great new book Esoteric Hollywood, Sex,
Cults and Symbols and Film. It's a real treat to
have him here once again, Jay Moman, welcome back to
the Higher Side.
Speaker 3: Thank you, Greg. Always a pleasure. I'm glad to be back.
Speaker 6: We had a really good time last time talking about
science fiction and propaganda, and I'm sure this.
Speaker 3: Will be equally as exciting.
Speaker 5: Yeah, man, I really loved that last episode.
Speaker 4: I think we also focused a lot on Ian Fleming
and the Bond films. Interstellar was pretty fresh at that
time too, exactly.
Speaker 5: And I also really enjoyed this new book of yours.
Speaker 4: And maybe a good place to start with that is
that one of the first sections is called film as Ritual,
which is provocative. But how closely related do you think
film and ritual really are? How are they similar?
Speaker 6: Well, the idea of ritual could be many things, right,
I mean, we generally think of it as a kind
of religious ceremony that has some connection to deities or
the divine or the celestial, And in modern parlance, I
guess we've kind of disconnected the idea of theater and
plays and acting from that milieu. But that's actually where
it comes from. You know, if you go back to
ancient Greece, the idea of Sophocles, of antigony of the
theater was bound up with the idea of the gods
and the stories of the gods. And you know, it's
the same with Homer, Odysseus.
Speaker 3: The Iliad, all of that.
Speaker 6: And so what I tried to do was kind of
go back to that ancient perspective and get a window
into that. And I did a lecture I think about
a year ago or maybe two years ago on Plato's Ion,
which is a dialogue that not many people are aware of.
Speaker 3: Io In is the name of the dialogue.
Speaker 6: And it's a conversation that Socrates has with some poets
and musicians and they're saying, hey, Socrates.
Speaker 3: Like, you don't know what truth is, man.
Speaker 6: You think it's all this philosophizing and analytical stuff and
it's inspiration, that's the true truth. And Socrates says, no,
you guys are actually just kind of Dionysian madmen. He says,
you're He says, you're inspired by these spirits and conceivably,
you know, there is evidence to suggested in ancient Greece
they actually were perhaps taking callucinogens and narcotics and things
like this. So it's entirely possible that the in the
arts and musicians and so forth poets were under the
influence of drugs and so forth. So in that regard,
Plato and Socrates basically say that it's alternate spirits, alternate gods,
alternate other personalities or entities quote unquote that are kind
of inspiring this performance or this play or whatever. And
when we fast forward to probably the most popular modern
school or technique of serious acting that you know, most
of the A listers are into, you get to the
Stanislovsky method, which is the method acting of Constantine Stanislavski,
who's like a Russian dude from about one hundred years ago,
and his whole idea was that you could, through his craft,
through his methodology, invoke and sort of take on these
other personalities. So that's the perspective that I'm kind of
coming from and looking at. And what's interesting is that
you know, whether you believe that there are actual alternate
personalities or spirits or things that people take on or invoke,
or entities that might invade someone's psyche or conscious mind
or something like that. Whether you believe in that or not,
people do believe in that, and so they will operate
on that belief system, and perhaps under the influence of
drugs or rituals or ceremonies or magic or whatever that
they're into, they may actually sort of go into this
sort of furor this kind of berserk sort of state,
which is what Plato was talking about.
Speaker 3: So that's what I start with.
Speaker 6: That's why I start as film as ritual, because acting
in the ancient world was ritual.
Speaker 4: Yeah, man, I love it that idea that theater and
the practice of acting out those mythological stories is like
an attempt to draw down the power of those entities. Yeah,
it's it's deep stuff, and it's like pretty out there
I think for a lot of people. But I mean
it makes sense. And do you think that there is
a bit of that drawing down of the spirits going
on in modern filmmaking as well?
Speaker 3: Well?
Speaker 6: Many of the A listers are openly into method acting.
So again, I'm not saying that I can prove that
they actually do it, or that they're possessed or anything
like that, But what I'm saying is that they believe
and act upon the philosophy of Constantine Stanislowski, which was
occulting in nature, and so he really thought that you
could have an alternate persona step in and take over
your persona.
Speaker 3: So that's the goal.
Speaker 6: Now, whether they actually do that as I'm sure debatable,
but I mean, how many times have we seen people,
for example, if they have a bad trip, right, and
the story is that, you know an Apocalypse Now, who
is a Martin Sheen right? I mean he's supposed to
be really tripping when he goes crazy in that scene,
famous scene in Apocalypse Now, So again this is method acting.
Speaker 5: Yeah, it's crazy.
Speaker 4: I mean we've talked on the show about the idea
of alternate personalities. I mean, this happens a lot in
Hollywood and music. I mean, so many actors don't even
use their real name, which is kind of strange. I
mean there's no other field like that. And then even
within that, you'll have a lot of musicians in particular
who have alternate personalities, which seems like a weird thing
to do when you're trying to build a specific brand
and you've done all this work to build up Beyonce
and now you're Sasha Fierce or you've built up Garth
Brooks and now you're whatever his alternate persona.
Speaker 5: Was that he used.
Speaker 4: Very weird that they do that at all, And it
kind of connects to this idea of being more of
a vessel for various personalities or taking on various personas.
Speaker 5: So I think you're onto something.
Speaker 6: Well, a lot of people think that that's not real,
and I will fully admit that in the case of
oh pop stars and things like that, that it's entirely
possible that a lot of it's just marketing. Right, So
maybe when there's going to be a new Beyonce album
or you know, David Bowie or whoever, they're going to
take on a new marketing persona of Zegge, Star Dust
or Sasha Fears or whatever. So it's entirely possible that
that is marketing. But I also have read a lot
of books from psychiatrists and sociologists and psychologists. For example,
there's a one that's pretty popular called Switching Time, and
this is leave a psychiatrists several years counseling a woman
with multiple personalities. Now, that could be fake. I've heard
some good argumentation suggesting that the classic story Sybil was fake,
but then again the source calling it fake was NPR,
so well, MPR is not the most reliable source. So
the idea of splits and altered and all this is
very I guess, controversial and debated. And when you look
at the reason why a lot of people dismiss it,
the basis is if it's things like, oh, it's not
possible because it doesn't fit with the idea of materialistic
reductionistic Darwinism or something like this, like you know, the
brain is just matter, and since we're not seeing anything
actually splitting under the microscope or something like this, then
it's not possible. Well, that just is assuming that the
mind of the psyche or the soul is in itself material,
which is an unproven assumption, again based on a person's
belief in materialism. However, if the soul and the psyche exist,
then that opens up all kinds of uh and it's
not strictly material quote unquote, then that opens up, you know,
all kinds of possibilities for what may actually be going on.
And I tend to believe that we don't fully know
and understand the things of the soul and the psych
I mean, the Bible even says this in Paul's letters.
Paul says, you know, man doesn't even comprehend his own spirit,
so how is he going to make these sort of definitive,
so cult scientistic claims about what's possible in the realm
of the psyche? So anyway, yeah, I would say that.
And I remember, like, even in college, the first time
I encountered this idea. One of my first college classes
was a psychology class, and we watched some videos on
people with multiple personality disorder or d ID, and I
think it's.
Speaker 3: To all appearances, it appears to be real.
Speaker 6: I don't see how all of these people could be
all faking this, So I tend to think it's real.
Now how developed that is in terms of can they
literally call forth all these.
Speaker 3: Different persons through trigger words and keywords?
Speaker 6: You know, this is actually the plot of this new
Shamelain movie, which I thought was.
Speaker 3: Actually really good. Yeah Split Split and Yeah. I went
and saw that. I thought it was great. I enjoyed it.
I tend to think that. I mean, obviously that's a
little bit.
Speaker 6: Hollywooded up, but if you read a book like Switching Time,
you know, it seems to line up pretty clear.
Speaker 3: What's that?
Speaker 6: And I would say that that would be my suspicion
as to what really goes on.
Speaker 3: But do I know if Britney has multiple personalities?
Speaker 6: She acts pretty loony sometimes and as she looks like
there's these different personas. So I wouldn't be surprised in
her case because I have seen some interviews where she
does seem to act very goofy and change her.
Speaker 3: Personality totally right.
Speaker 6: I've seen people have freak outs on drugs where it's
not just then freaking out, like it appears to me
that somebody else was running that machine. The ghost in
the machine was switched out, there was some other ghosts
in there.
Speaker 4: Yeah, I mean, I definitely think there's something to this
for sure. Again, I agree with you like it's about
determining to what degree, but yeah, there's something to it
for sure.
Speaker 5: And I'm curious do you see.
Speaker 4: Film being good vehicles for occult aims outside of invocation?
Are there other things in that occult esoteric toolbox that
are being manifested through film?
Speaker 3: Are there good aspects? Sure? Sure?
Speaker 6: I don't think you know all the films are nefarious
or propaganda. You know, several chapters in my book are
kind of lighthearted and goofy and satirical, so that they're
not really to be taken, you know, too seriously. I
think the Logan's Run and the Zardag chapters are pretty
I mean, there's some deep dark stuff in those films,
but for the most part, they're just kind of fun
and satirical sci fi versions of like Plato's Allegory the Cave.
And I don't think those are necessarily, you know, nefarious
fair points.
Speaker 4: But to clarify, and i'd i'd say good vehicles, but
I don't mean good in a moral sense. But I'm
more curious if you see films acting as useful mechanisms
for other occult aims besides the invocation aspects we talked
about other things in the Magical Toolbox. For example, I
sometimes hear people suggest that a major aim of mass
media and Hollywood is to replace our imagination or to
have us outsource our ability to visualize, because they know
how important the connection between consciousness and matter is and
that we can influence our reality. But not if they
bombard us with all this filler from a young age.
So I guess I'm really asking if you see other
occult related purposes for the Hollywood machine other than the
entity energy draw down aspect that you would laid out already.
Speaker 3: Okay, I see what you're saying. I have seen.
Speaker 6: My buddy John brought this to my attention. John Adams
over at Hoostbusters. He said, if you look at the book,
I forget the title of it off the top of
my head, but I did look it up. Gregory Bateson,
who is one of the sort of MK ultra guys
in the background, he wrote a book where he did
actually talk about capturing man's imagination, and he saw that
the need to control creativity and imagination was very important
for social engineering because in my view, this is really
the function of Disney, right. It's like it is all
about quote imagination, and what they've done with Disney is
totally weaponized it to capture your children's imagination and really
turn it into a lot of dark social engineering things
like you know, they want to take your kid and
take her from being Hannah Montana and turn her into
gender fluid, disgusting slutty Miley Cyrus. So that's the real
goal of capturing imagination.
Speaker 4: Mm hmm, yeah, man, Disney is quite a force, and
I really do enjoy people break down Disney films. Sometimes
it goes too far, I will admit. And I actually
checked out some of the songs on YouTube from that
new one Mona and I guess the Rock plays a
demigod character. I assume from Hawaiian mythology. I think that's
what it's all about. And there is a line in
one of his songs where he describes making the world
and at one point he says, I killed an eel,
buried its guts sprout of a tree. Now you have coconuts.
And I just thought, huh, that's a fairly detailed ritual description,
right there, a bit of an evolution from when you
wish upon a pentagram. And I am being facetious, but
I've heard some researchers make a really compelling case that,
however small, there is a very purposeful occult thread through
a lot of those films.
Speaker 6: It's an interesting point. I haven't followed much Disney stuff
or kids stuff in general. I tend to focus on
more well, at least in the first book you know
that I did. It was mainly things that I grew
up with, you know, Spielberg movies, Hitchcock movies, James Bond Kubrick,
things that I watched growing up in high school and
stuff like that. But I'm sure that, yeah, you could
definitely go a whole other rabbit hole, you know, into
kids films and all.
Speaker 3: The programming and stuff like that.
Speaker 6: And but again, I think that the main tool of
what they do with the kids films is promote mindless
sort of rebellion, promote wells. As you mentioned, they're sort
of the capturing of the imagination and turning it to
really just the service of the system. I mean, you know, Disney,
for example, was for a long time involved in promoting
government propaganda and military recruitment.
Speaker 3: That was a big part of what Disney himself stood for.
Speaker 6: He had access to and worked at the Laurel Canyon Studios,
you know, where they did all these secret Air Force
films and so forth that I discussed in the book
that comes from Dave McGowan's work. So, yeah, that is
a good question. I mean, only the kids aspect of
something that could be explored more. But I mean I've
seen all kinds of dastardly stuff from Nickelodeon and MTV,
and you know that I think is genuinely intended to
have negative effects on your children.
Speaker 3: I mean, the whole goal of all of it is
a depopulation.
Speaker 4: Yeah, I mean it could be a stretch, but I've
even heard people talking about the sliming of kids on
Nickelodeon being you know, symbolic of semen.
Speaker 5: I mean, that might.
Speaker 4: Be a stretch, but I'm like, that is kind of
kind of creepy too when you think about it in
that context.
Speaker 5: But let's get into Spielberg a little bit.
Speaker 4: You write about them a decent amount in esoteric Hollywood,
breaking down several of his movies, and if there were
a larger, semi organized machine behind Hollywood, Spielberg would have
to be involved. So when you look at the totality
of his films, do you see an over arching aim
or agenda that becomes more clear?
Speaker 6: Yeah, I think you could boil down like probably three
major themes that Spielberg deals with. He deals with holocaust,
he deals with familial relations, and he deals with aliens.
That's the three things that he's focused on. So what
I folks, well, alien slash transhumanism and so forth. So
what I focused on in my book was the alien
and transhuman myths and stories that he's focused on and
so he interestingly does have a penchant for Philip K. Dick,
who I think is very fascinating as a writer and
a character. Because you know, Spielberg did Minority Report, so
there's a chapter on Minority Report that I do that
focuses on dystopia and how tech can lead to dystopia.
So not everything in Spielberg is bad. I don't think
he's totally nefarious or anything like that. And I don't
actually go after anybody personally or any of the directors.
I just kind of try to decode the films and
see what patterns and meanings I can find in the symbolism.
Speaker 3: What is Spielberg all about?
Speaker 6: Was I said, aliens and transhumanism, And I think those
two things are linked. For one, because I personally am
not convinced that there's like extra biological entities. But I
think that if you watch movies like ET and then
you watch something like his version of or the Worlds,
the cold calculated scientistic approach that the so called aliens
have sure does seem to match up to the cold
calculated scientistic approach of the deep state and the military
industrial complex and the international corporations. Yeah, they have that
because like, so at the end of Closed Encounters, what's
it all about. Well, they're stealing, abducting kids and family members,
and you get the impression at the very very end
that they're doing some kind of genetic modification on these
people and then they're like giving them back to you
like twenty years later or something, and they haven't aged.
So the idea is, oh, the alien no overlords are
working on genetic modification, hybridization, GMOs, halting, the aging process,
you know, all these kinds of things that we in
the conspiracy world really believe the oligarchs are working on
and are into. So I think that's the real meaning
of something like Close Encounters, which actually kicked off the
modern alien Hollywood blockbuster phenomena. I can't really think. I mean,
there was there probably were alien movies, no doubt, many
of them prior to Close Encounters, but making aliens into
a giant blockbusters, you know, it begins, I would say
with if you don't count two thousand and one, which
I tend to believe two thousand and ones about AI
not so called aliens but extra terrestrial beings, you get,
you know, you get Close Encounters, which is based on
Jail and Heinek and Jacqueville, Right, this is both of
their works. We're kind of the basis for what was
going on in Close Encounters. And actually I believe Heinek.
I found sources saying that Jalen Heineck was actually consulting
with Spielberg on the set. So yeah, so I think
that you're talking about people from the deep state who
know about what the UFO and on really is sort
of consulting with Bilberg. Spielberg's putting out his version of it.
And you know, then when you look at Et, I
think Et is actually about this idea of the Et.
Speaker 3: Is more like a familiar spirit than he is like
an alien. That's why he has this.
Speaker 6: Very strange bonded connection with Elliott. And you know when
Et gets drunk and burbs, Elliot's drunk and belching. Right, Yeah,
this is very very weird stuff going on there.
Speaker 4: But yeah, man, and this is exactly what I wanted
to get into because I love that ET analysis and
it's it's so interesting you talk about in the film
Meet You mentioned the shadow government researcher in the movie
is named Keys, and that it's a reference to the
Key of Solomon. And let's get into this bit. What
is the significance there is that message part of the
uh subtly saying that Et is a familiar spirit or
a demon rather than a space alien.
Speaker 6: I would say so because you look at what his
so called powers are, and they again, they match up
much closer to something like a familiar spirit supposedly than
it does any sort of quote alien. It's almost as
if Elliott invokes Et to come and they have this.
It's almost like Et is his higher self or his
you know, sort of holy guardian angel or something. And
I think there's a lot of bizarre, sort of Crollian
dish imagery in the film too, with you know, the
moon child and Elliott flying across the moon as a child,
this stuff.
Speaker 3: I think that's suggestive. It's not definitive, but it's suggestive.
Speaker 6: And so the Peter Coyote character, that's the guy who's
playing keys. He shows up at the beginning and then
he pops up later at the end, and he's actually
this sort of mysterious almost angelic government figure. He's turns
out to be a good guy because he's opening up
all of these scenarios at least That's how I read it,
And actually I think Roger Ebert says something similar to
that in his book The Great Movies when he looks
at ET. So anyway, it's a it's a different take
on ET definitely that I have.
Speaker 3: But the actual guy, Peter.
Speaker 6: Coyote, interestingly, was a hardcore Marxist and he was a
big time sort of activist quote unquote and in terms
of Marxism and cultural revolution.
Speaker 3: So you know, I think that's potentially suggest I'm.
Speaker 6: Not saying he is an occultist or anything like that,
for sure, but it's just interesting that, you know, you
don't see this guy in a lot of movies, and
Spielbert chooses him for this role. I don't know why,
but ultimately I think what ET is was the propagation
of a rebranding of the alien mythology for a generation
of youth. Right, so I was Elliott's age when ET
came out, so that was targeted at people my generation,
and I think the goal of that was a rebranding
of quote, aliens, not to be something nefarious or dangerous
and some otherworldly threat, but something that we should embrace.
And when you get to my Prometheus chapter, what I
argue is that the reason that we're being warmed up
to quote aliens for so long, and why Hollywood just
constantly turns out alien movies like NonStop, is not just
for blockbuster ticket sales. It's actually, I think, to sort
of warm us up for the acceptance of a new
global religion that melds better with Darwinism. And I think that,
as I argue in the HD Wells Spielberg chapter in
the book, I believe that we've been prepped for this
for a long time, going all the way back to
the science fiction and predictive programming of H. G.
Speaker 3: Wells. And that's why Spielberg chooses things like war the.
Speaker 4: World's Fascinating Man. And I love that Et example. I
remember when I was a kid. You even note the
fact that Et glows as maybe an element of him
being more of a familiar. And I remember when I
was young, I was like, why does this thing glow?
Speaker 5: It just doesn't look right.
Speaker 4: Thought it was awkward, But it makes the point that
maybe it isn't. Maybe it's a spiritual entity rather than
something from space.
Speaker 6: Yeah, And I think that the planetary connections that we
see in the film also suggest planetary deities, right, and
this is kind of how the Key of Solomon and
our ancient mythology would have viewed et and the gods
quote unquote.
Speaker 4: I also like the thing that you point out that
the government agents arrive in NASA's space suits in the movie,
and that is so weird. Why would you be in
a space suit anywhere but space? But it is, it's
in there.
Speaker 6: Yeah, I've always thought that was odd. And so how
do we read this, how do we make sense of this? Well,
once we have a broader perspective of things like Kubrick
and we realized that Kubrick was working with NASA, which
I touch on in the book, and you know, if
we've seen the work from say Jay Wiedener on Kubrick
and the moon landings and that theory, I think that
especially given the fact that Spielberg took over Kubrick's script ai,
you know, and changed it to aliens and stuff like this,
which I don't think Kubrick was had in the original story,
there's some nods and crossovers between Spielberg to Kubrick, and
I've always just wondered if that wasn't some kind of
nod or or hint that the moon landings and Apollo
and all this kind of stuff is not what we
are told.
Speaker 3: When we look at other nods.
Speaker 6: And instances in films that I touch on in the book,
like Diamonds Are Forever. Well, there's a scene where, you know,
James Bond runs onto a movie set where they're filming
the Moonlighting.
Speaker 4: Yeah, I love it, man. And you also even note
the similarities and titles between ET and that Kubrick Spielberg
collaboration of AI, and you say that it could be
a mystigogical code for the origins of advanced artificial technology
as channeled from inter dimensional alien gods. Great sentence, and
I love that idea. I've been hearing it more and
more that technology comes from connections to entities like Prometheus
bringing as fire. Is that your impression of where a
lot of technology comes from some type of occult workings.
Speaker 6: I do think that that's possible, and that's I believe that,
not just because of you know, some kind of weird
thesis or something I dreamed up, but actually, when you
go into the history of philosophers or sort of pioneers
of modern technology, you can look at characters like Descartes.
You can look at somebody like John d was of
course interested in alchemy and things like that too, BUTNZ GW. Leibniz,
the famous continental philosopher who's the co founder of calculus
with Newton. Leibniz was very interested in alchemy and the
esoteric and metaphysics and things like this, and Platonism, and
he is one of the formative figures kind of dreaming
up the possibility of a computer or a logic machine.
So there's always been in you know, Jewish mysticism, the
idea of the golumn, which is the creation of a
robot being or a synthetic human.
Speaker 7: And so.
Speaker 6: I think we have nascent in the mythology a lot
of the hints and primeval. I mean, you could almost
argue that's kind of predictive programming, like ancient mythology, right,
is almost a kind of primeval predictive programming for what
is possible with technology and alchemy. So I know that's
kind of that might be debatable, and people might howl
at that and think that I'm crazy, But I mean, yeah,
maybe it was just his own clever insight. But how
was Leibniz streaming up the possibility of a computer you know,
back in the fifteen hundreds, how did you know Da
Vinci was like sketching out helicopters and stuff.
Speaker 4: I mean, right, where do our ideas come from? We
don't really know.
Speaker 3: We don't know. That's what I'm trying to say.
Speaker 6: And that's what I was getting at earlier about you know,
the psyche and splitting of the psyche and all that,
is that I hold that out as a very likely thesis,
much more likely than the Darwinian reductionist thesis, because you know,
we don't even know what the source of our stream
of consciousness thought processes. So how are we going to
make these sort of definitive claims about, Oh, it's absolutely
impossible that there's a spiritual unalm or you know, that
we could receive the impressions of ideas or creativity from
those kinds of sources.
Speaker 4: Right, I mean, the idea of the muse goes back
as far as artists.
Speaker 3: Yeah.
Speaker 4: So it's interesting, man. And to talk about AI a
little bit more. It came out in two thousand and one,
probably for specific reasons, but do you see its messages
and themes becoming any more poignant in the decade plus
since the film was made.
Speaker 3: Absolutely.
Speaker 6: Yeah, that's kind of why I chose that one just
to be in the books, and there was.
Speaker 3: Probably ninety two one hundred film analysis.
Speaker 6: I had to leave out that maybe they'll make up
you know, part two or three or something, But that
one I.
Speaker 3: Chose because it fit with the theme.
Speaker 6: That I was looking at from Spielberg, you know, transhumanism
and synthetic future and all this kind of stuff, synthetic
dystopia basically, And so I argue that AI is a
kind of transhumanist fairy tale, that what he's done is
taking the Pinocchio myth and reformulated it for modernity.
Speaker 3: And again this was taken from Kuberg.
Speaker 6: This was actually a Kuberg screenplay that Spielberg took over
an altered and of course added in aliens. Anything with
Spielberg's gonna have aliens in there. But it functions, I believe,
on multiple levels. So it's not just about the possibilities
of AI. It's also in a nefarious sense. If you
notice the David character, the AI character, he's always he's
portrayed as this sort of Edenic innocent I mean, he
is the future of quote humanity, but he's humanity two
point zero. We make him in our image right as
kind of new gods or new creators. And I'm sure
everybody's seen the film, so you're aware of the fact
that humanity dies out right. And the film begins with
this sort of eugenics Green Agenda twenty one type message
of the earth has been flooded from global polarizes, caps
melting or something nonsense like this, and you know, there's
only these these kind of sparse human communities, and the
bots are persecuted, and so Spielberg has the bots put
into a lot of these Holocaust type scenarios and narratives
where they're being trucked off in carts and you know,
they're taken to the flesh fare, which is this Dante's
Inferno style torture scenario. And so what I'm getting at
here is that they're treated as the new.
Speaker 3: Civil rights victims.
Speaker 6: Now, twenty thirty years ago, nobody would have believed possible.
Everybody would have laughed if you had said, we are
entering the phase in the near future where bots and
cyborgs and transhumanism and people who get you know, body
mod and all this kind of stuff that's actually going
to be a new civil rights slash human rights or
cyborg right. Right, that is now being discussed. Right, this
is where we're going. That is going to be what
we talk about in the next decade twenty years, there
will be I'm not joking. This is the So we
went from racial civil rights to gay rights, and then
the next quote civil right is going to be related
to transhumanism and maybe I'm forgetting it, like bcality or
something like that's going to the bcality and pedophilia that
will be discussed as a quote right, And make no
mistake about it, You've heard it here on Higher Side chats.
Transhumanism and cyborg modification will be the next right. And
all of that I think is being predicted and projected
and displayed in AI and also in you know Redley
Scot's Blade Runner, which is another chapter in the book.
Speaker 4: And there's also quite a bit of Cabbalistic influence in
AI too.
Speaker 6: Right, Absolutely, this whole idea of word magic, and this
is something that I did touch on too. I forgot
to mention themes in Spielberg. You mentioned themes well, Language
and meaning and interpersonal communication is a huge aspect of Spielberg.
That's why if you remember in close encounters. The aliens
don't know how to communicate with us, so they have
to eventually use sound, and you know, they decode the sound, dude,
that becomes the form of language. But the Lacombe character,
who's played by fran Squas Trufeau, the famous French director,
is based on Jacques Belie, and he decodes this message.
The way that he decodes is that he hears a
bunch of Hindus singing the sort of chant. And if
you study how Hindus view their chants, they actually view
it as a ritual invocation. And so when you hit
certain frequencies, they believe through sound your action harmonizing with
the wavelength where those gods reside. So what's weird is
that the chant that they're actually putting out is a
ya a a ya, which is very close to the
tetragrammaton or yahweh.
Speaker 3: Right. And of course Spielberg, being.
Speaker 6: Jewish and being aware and I would say obviously familiar
with Cabbalism, I think that's where he's coming from.
Speaker 3: That's the vanished point he's coming from.
Speaker 6: And so that's where you get to the the arguments
that I make about things like using a period I
period and then using E period t period. Right, these
are done on purpose because letters are symbols, and they
also have a lot of different meanings in Gamatria, or
they can stand for different things in different schools of Cabbalism.
Speaker 3: So where were we forgot? Where were we talking about
calm in Ai? Oh oh in Ai?
Speaker 6: Well, so, so there's word magic in Ai when his mom,
David's mom says these magic words that give him consciousness. Now,
I think that there's a lot of different things you
might could read from that.
Speaker 3: I would tend to stick it in the.
Speaker 6: Gobbalistic narrative of because this is the idea of the Gollum, right,
and this is Jewish mysticism, the idea of that you
could use different Hebrew sounds and words and symbols to
in a way be a theorist or be a creator
and cause life quote unquote to be right.
Speaker 4: She also touches buttons on his chakra points too, doesn't she.
Speaker 6: Yes, that's a great point. She touches the back of
his neck. I think if I recall and then says
the magic words, and he supposedly is quote conscious, So
now I don't believe that that actually we Willever create
a conscious being like that, I think that will always
be synthetic. It will always be in some way a
kind of program. Anything that you program, it's only going
to do what is programmed to do my view. So,
but I do think that you know, AI, transhumanism, all
this stuff is developing to the extent that people will
believe that it's conscious and that it's alive, and that
that's how they will sell it as a new civil right,
and then old humanity, old man will be declared obsolete,
and you know, as they promote the new man the bought.
Speaker 4: Yeah, man, I think this is so interesting, especially this
idea of sci fi movies like ET and Close Encounters
and War of the Worlds, this idea that they have
cemented a lot of our thoughts about space and aliens
in culture, even more so than real science has. And
maybe it is to get us to accept demons as
cool via the alien skin. But I've also had some
guests who are pretty far out there and in the
flat earth territory, and they would say that Hollywood and
NASA CGI is where we get our ideas of outer space,
when really we're stuck in a snow globe and I
don't think you're a flat earther. But if space is
largely like it's depicted in films, are there other aspects
that are being manipulated? Is it just the alien demon
thing or do you think there's more to that sliver
of the pie.
Speaker 6: I don't believe that we really know what is out there.
I think that there's a lot of different theories. And
just like with the psyche, you know, people try to
have these definitive declarations and pronouncements about what exists and
what's possible and what's not possible, and they really don't know.
And I think that's a big part of the system,
is giving the impression that they do know a kind
of confidence game yeah when they don't. Now, I mean, yeah,
a lot of things we do know in terms of science,
but I believe that real science and real advancement in
those regions those areas comes about in things like technology
and engineering, computer science.
Speaker 3: All that stuffs real.
Speaker 6: NASA is a pr front under the aegis of the
Air Force, So their number one job, that is the military,
is lying.
Speaker 3: To the public. That's what psyops is.
Speaker 6: So you can't believe any of these declarations from NASA
and just look at the fact that NASA, on the
one hand promotes aliens and then turns around and tries
to present itself as this totally scientific organization.
Speaker 3: But it's not. It's a pr front. It's sentimately tied
with Hollywood. That's why.
Speaker 6: Really Scott was talking about how his movie Mars was
released in tandem with NASA's supposed Mars discoveries. You know,
when that last Matt Damon movie came out whenever, that
was like a few months ago. James Cameron sits on
the board of NASA directors. Why is this Hollywood director
sitting I mean, I think that's all suggestive of deception.
I don't believe in the flat Earth because of the
fact that you you can fly from Santiago to Sydney
in eight or ten hours or so something like that,
which is impossible on that goofy fletter map.
Speaker 3: I don't think that.
Speaker 6: I mean, the entire military and GPS and logistics would
all be off, everything would be working all fucked up
if the Earth were flat. My dad was in the Navy,
he sailed around the globe. So I think that's a
whole bunch of syops and ridiculous deception. In my view,
I'm fine with people questioning things. I would tend to
think that there's a good case to be made for geocentrism.
I think you could argue that one. But no, I
don't believe that we live on a pizza crest.
Speaker 3: Yeah.
Speaker 4: I mean, it's just interesting because if Hollywood's big aim
is to kind of control the way we think or
to make us feel confident about what's beyond our atmosphere, yeah,
I just wonder if it's different in any way than
what's depicted in the movies. I mean, we might never know.
Speaker 6: Well, I do believe, I do believe that. I do
believe it's different than what we're told in movies. But
I think that Hollywood had its main goal or role
in this regard in terms of promoting things like Darwinism.
And you say, well, there's not that many movies that
promote Darwinism. Actually all science fiction movies do, almost all
of them across the board. Two thousand and one Space
Odyssey is a gospel of Darwinism. So I'm very critical
of that in the book. And I don't approach Darwinism
as most people do just from like a list of
arguments that they run online or something.
Speaker 3: I approach it as a philosopher.
Speaker 6: That was my you know, grad training was in analytical philosophy.
So I philosophically critique Darwinism in the book, and I
try to argue that, you know, when you look back
to figures like H. G. Wells, who was this committed
Masonic socialist, a Marxist, committed why is he the guy
who's promoting you know, the new global revolution through science
through evolution. I mean these people are committed liars, Yeah, openly.
So I think that's suggestive. I mean nobody. I think
you could argue that nobody else has had the impact
on science fiction and science fiction films by extension to
the degree that AHG.
Speaker 4: Wells has, Right, I'd agree with that. And I don't
know if you've seen Stranger Things on Netflix.
Speaker 3: But yes, I did a lengthy analysis of it. Yeah.
Speaker 5: Oh nice.
Speaker 4: Well, what's kind of interesting about that in this context
is it invokes all those eighties sci fi movies like
et in Close Encounters, but yet it's very clearly about
this being this entity brought through a portal via mk
ultra torture.
Speaker 5: So that's kind of interesting.
Speaker 6: Yeah, yeah, yeah, if anybody's interested they can go to
Jay's analysis. And I think there's an audio thing that
I did and pretty popular written piece that I did
that I don't know. I got about twenty or thirty
thousand views on that, so it did really well.
Speaker 3: It's worth checking out.
Speaker 6: Yeah, And what I argue is that it's it combines cobblism,
and it combines the idea of other dimensions portals all that.
Speaker 3: So it's kind of obvious.
Speaker 6: But what I found fascinating to begin with was that
what sparked this in part was a lot of people
in Hollywood wanting to play Dungeons and Dragons Believing or Rock.
There was an article that came out in oh, I
don't know, MTV or Din of Geek or one of
those pop culture sites that was talking about how The
Rock plays D and D weird.
Speaker 3: So you were talking.
Speaker 6: About The Rock earlier, and I'm not making too much
out of that, but you wonder, you know, like we
were talking about with actors.
Speaker 3: Now.
Speaker 6: I understand that D and D is a game. I
used to play D and D when I was in
high school. I know all about how it works and
all that. But isn't it interesting that, as you were
saying earlier with the idea of bringing down the gods
or something like what could it also be something where
people believe that they are, you know, really tapping into something. Yeah,
and that's the thesis of you know, stranger Things, is
that they sort of unconsciously tap into this portal, this
realm through.
Speaker 3: The D and D game.
Speaker 4: Yeah.
Speaker 6: Now, I don't I'm not approaching this like a fundamentalist
in saying that, oh, if you play D and D
You're going to like open up the gate to Hell
and anything like that. But it does pose that interesting
question of can we meddle with and tap into forces
that are, be honest, that we don't understand.
Speaker 4: Yeah, man, it's interesting. So what about let's another movie.
Let's talk about the Goonies another Spielberg movie. Seems pretty
simple and innocent enough on the surface, but there is
more when you dig deeper.
Speaker 3: Right. Yeah, I didn't make Goonies.
Speaker 6: Didn't make it end of the book, but I wrote
an analysis of it about a month ago.
Speaker 3: And it was just one that I'd.
Speaker 6: Always been, you know, intending to get to, and I
never really got to it until I.
Speaker 3: Was reading Chris Springmyer's book.
Speaker 6: I read it like ten years ago and kind of
forgot about it, and I got that back out and
I was looking at that, and his chapter on the
Asters made me think, now, wait a minute, Goonies is
about Astoria. So I read Oli Fritz's chapter, which was
fairly well sourced, and then watched Goonies again, and I
lo and behold, noticed the whole bunch of things I'd
never ever noticed before, the first of which would be
that when you look into the actual documented history of
John Jacob Astor and the Astor family, all of that
stuff is true. He was a high level Freemason grandmaster
of a New York lodge. I believe he took his
occultism seriously. But he was also a high level drug trader,
so that's all true. So the stories of him going
from the fur trade to the drug trade through shipping,
that's all true. And you can find the public documentation
of all that, right damn, which I linked him in
my article.
Speaker 3: So that was interesting.
Speaker 6: So I wasn't sure how to read that in a
line of gooney, But then when I rewatched it, you
notice that the Goonies are kind of going on this
sort of national Treasure Nick Cage type journey to decode
the Masonic history of their city, of that story, and
that's what they do, and they discover, oh, actually we're
founded by a bunch of scally wagged pirates. Now so
how is that relevant? Well, as we know from you know,
people like Jordan Maxwell, I mean that the Jolly Roger
flag is the flag of skull and Bones because it's
the flag of we're not bound by any of your laws.
We're transnational. So when sculling Bones and the Oss and
these people took over that Jolly Roger symbol, they were saying,
we are internationalists. We will run this drug trade outside
of your national laws. We're not bound by any of
your stupid rules. We are the true elite outsiders. And
so what's funny and ironic about goonies is that the
goonies are going to have their houses all were closed
on and was a country club is going to be
built golf course, right, and so they're the outsiders who
actually discover the jewels and then you know they're able
to save the family and all that kind of stuff.
So the irin is just ironic that they are the
alienated outsider youth that identify with the pirates when they
decode the big Masonic myth of astoria. They find the
treasure and they're able to you know, presumably they're wealthy,
I guess, because they you know, he still ends up
with jewels, like a bag of them, if you remember
at the end. So anyway, I just I saw all
that weirdness going on. That's how I read it. And
there's also some weird kind of phallic references in goonies,
which I'm not sure what to make of, but you know, yeah,
when we think about that in light of what Corey
Feldman said, you know, I don't.
Speaker 5: Know absolutely.
Speaker 4: The I was something I was going to ask you
about later on. It was Pizzagate kind of because child
pedophilia in Hollywood has been a theme in a conspiracy
for a long time, not only claims of passing around
child actors, but also having underage kids play prostitutes.
Speaker 5: And stuff like that.
Speaker 4: Yeah, the political and Hollywood a leader very interrelated. I'm curious,
what are your thoughts on the Pizzagate scandal or Hollywood's
role in the abuse of children.
Speaker 6: Yeah, I think I did three or four audios on
pizza Gate. So if anybody wants to like a fuller breakdown,
they can check those out, but sure. But yeah, I
mean I think that it was pretty clear that there
was some kind of black market operation going on that
dealt with perhaps at least gay prostitutes or something like that.
I mean, that's very popular in the DC scene, and
that would also be connected to things like cocaine and
drug use and all that and code words and all that.
So I know that I know all the arguments and
everything about you know, what all of the code words
mean and all this kind of stuff, but I don't
know if there's definitive proof. And you know, that could
have been intentional. They could have put something out that
wasn't definitively proven. But what you can prove is, you know,
Laura Silsby to get in trouble for going to Haiti
and trying to bring a bunch of kids.
Speaker 3: Out of Haiti. You can prove that. And yeah, you
can prove that she was connected to the Clinton Foundation.
Speaker 6: You can show that John Podesta made a lot of
weird statements and you know, what does it mean when
they're talking about a hot tub and.
Speaker 5: Yeah, pizza a hot tub.
Speaker 6: Yeah, so it's hard to say exactly what definitively what
it is, and you know, was that a plan to
sign off the alternative media? I don't know, But ultimately
we don't need quote pizza Gate. You know that this
kind of stuff is true because there's like a dozen
other cases of the exact same thing, Right, So I'm
not saying, by admitting that I don't know exactly what
the situation Pete is, that that's not true. I'm just
saying that I wouldn't be surprised because there's so many
other cases. We've got Savile, You've got the du trou
affair in Belgium, You've got Franklin cover up, Craig Spence,
you know, Johnny Gosh, the White House. You know, there's
like and there's a whole slew of other books that
you could find about this kind of stuff, the pedophilia
and the Catholic Church. William Kennedy's book, Listener's Lodge, Malchai
Martin's books have talked about it.
Speaker 3: I mean, there's this book after book after book that
have already dealt with.
Speaker 4: This matter, right, And I agree with you that you
don't need Pizzagate. It's just kind of one example of
a theme that seems to be there for sure, and
a lot of times you can get a better beat
on things by looking at the aftermath. And it wasn't
really until that shooter went into comment Pizza where I
was like, oh, okay, so you put out a lot
of smoke that's unprovable. You then put do a false
flag where a guy goes in with a gun, and
then you say, Okay, we got to crack down on
these alternative news sites because conspiracy is dangerous.
Speaker 1: Now.
Speaker 4: It's not just goofy and wrong, it's actually dangerous to
even discuss stuff that doesn't come from CNN, MSNBC. So
I totally see that being a possibility for the agenda there.
Speaker 6: Yeah, And I'm just and I totally agree, like as
a thesis, you know what I mean, Like I could
see that thesis.
Speaker 3: I could also see the thesis that this was.
Speaker 6: A real operation going on, you know, with all the
worst stuff imaginable. Yeah, but I just don't personally know.
But what we do know is that, you know, there's
court cases involving Epstein and his island and all the
Clinton trips on the Epstein pedophile plan and Little Saint James.
Speaker 3: I mean that's known of course. Man.
Speaker 4: So we've talked about this idea that themes in film
can give us an idea of what might be I
mean even a decade beforehand. Sometimes, are there any newer
film trends you see coming that concern you.
Speaker 6: Yeah, let's see, I was trying to think of what
sci fi type things I've seen recently that that hinted
at that kind of stuff, because yeah, like I said,
I think when you look back to something like AI
or Minority Report, you know, like in Minority Report you're
seeing targeted advertising and you know, retinal scanning, all that
kind of stuff that was new to you know, two
thousand and one or two. All that kind of stuff
we're seeing more prevalent now, right. And so in AI
you see sex bots. This is all in the news
now right. They're they're rolling out in the sex bots.
This was in the Enemy of the State, it was
an AI, it was in Blade Runner. Some of the
replicants are sex bots. So I'm trying to think of
recent sci fi movies that I've seen that might have
new aspects of predictive programming.
Speaker 3: But off the top of my head, actually I can't
right now.
Speaker 4: Well, there's you know, the two New Star Wars movies.
I guess we already talked about Arrival. I haven't seen
all that many sci fi movies in the past year
or two either.
Speaker 6: Yeah, And I think as I said, like Arrival and
Star Trek, and I mean these kind of just have
the more globalist minded propaganda of you know, anyone that's
opposing And if you can, we mentioned Rand Corporation earlier.
Rand Corporation had a direct connection to Star Trek. They
were into some of the Rank Corporation people were involved
in brainstorming ideas and based on stuff that was in
Star Trek. You can find you can find papers on
that at the Rank Corporation. So I'm not making that up.
And what's the whole idea of Star Trek is what, Well,
we've got to have a federation that can rule all
these unruly, you know, independent existing people groups, all right.
I mean that's just globalism one on one. And Geene
rodd Berry would actually talk about that openly. He would say,
you know, I'm all for a little government. We got
to have a new world order. This is the only
way to do things. And you know, though, the way
we do this is to get rid of all these
people thinking that there's a god and that they have
their own traditions and that's all just got to be
wiped away and we'll have.
Speaker 3: You know, the Halo Deck.
Speaker 6: Well, there you go, So Holodeck and VR that's what's coming.
Speaker 5: Yeah, and I'm just trying to think of other movies.
I saw X Men Apocalypse.
Speaker 4: I thought that was pretty interesting, just because the Apocalypse
character talks about being something ancient. Like there's a character
who asks who are you, and he's like, Elohim raw.
I've been called many names over many lifetimes. I am
born of death. I was there to spark and fan
the flame of man's awakening, to spin the wheel of civilization.
And when the forest would grow rank and needed clearing
for new growth.
Speaker 5: I was there to set it ablaze.
Speaker 4: And I think that's a pretty awesome dialogue.
Speaker 5: But it's also pretty interesting.
Speaker 3: Yeah.
Speaker 6: Actually, yeah, I'm glad you mentioned that because I have
written on Avengers and the Marvel stuff, and X Men
is on.
Speaker 3: My list to get to.
Speaker 6: Actually, but if you go and read my my takes
on Captain America and Avengers and all that, I think
there's three or four articles I've done on those. It
would be kind of the same themes. Because you've got
like if you saw X Men first Class, that was
crazy because they're like working with the CIA. They are
a CIA project, which is just mind blowing. So all
that's revealed, and I do think there's true to this,
you know, the whole super Soldier idea. And I have
Chris Knowles's book. It's pretty good, so I'm glad you
referenced him. But I just haven't seen Apocalypse yet. But
I didn't know what to I was lost actually in
the last X Men, the one before that, that where
they went back to back in time, and yeah, like
JFK Era and what is going on here?
Speaker 3: Interacting with Nixon and JFK.
Speaker 6: In alternate timelines, and it just kind of lost me
in the confusion, and I didn't think it was that great,
but there is. You're absolutely right to point out X
Men and Marvel and all that.
Speaker 3: Because they're just rife with everything.
Speaker 6: All I can say is just check out my nalysis
on those movies at Jason Alysis.
Speaker 4: Yeah, and there were a lot of bombs when it
comes to sci fi. In the last year. There was
the remake of, I mean, the sequel of Independence Day.
There was that movie that I thought looked interesting, Gods
of Egypt that was apparently terrible. So the only one
I've heard that was good that I haven't seen is
the fifth Wave. I've heard that has some pretty interesting
stuff in it because the first four waves are like,
first they create, you know, if there's an alien invasion
and there's five waves of it. The first wave is
create darkness, then widespread destruction, then infection, then invasion, and
then the fifth wave is actually, once the planet is
in its weekend state, then you swoop in and just
take it interesting.
Speaker 3: You know.
Speaker 6: Actually I did see that movie advertise, but I didn't
actually watch it, And the reason for that is that
what I'm having to do right now is prep for
the TV show that Jay Weener and I are going
to do, and we're working on the first season, and
it's going to be thirteen or fourteen episodes of first
Ridley Scott, then David Lynch Movies in Spielberg, then Kubrick,
then The Matrix and The X Files, Christopher Nolan movies,
James Cameron, Roland, Plansky, Bond, Twin Peaks, True Detective, Godfather,
DaVinci Code, and then we're going to do an episode
called Gnostic Cinema, which is snow Piercer, Westworld, and Dark City.
So what I'm having to do right now is and
this I just got this information a couple days ago,
so I don't even have the time really to like
watch the fun movies i'd want to.
Speaker 3: I have to sit and rewatch.
Speaker 6: All of these over and over and kind of plot
out what we want to do with each one of
these episodes and where we want to take it. So
so that's what I've been working on, and our show
will be I think in running in April on guy
a TV.
Speaker 3: Very cool.
Speaker 5: That's exciting.
Speaker 4: Well, right on, man, It's always great to talk to you.
Speaker 5: I enjoyed it last time. This has been a blast too.
Speaker 4: I like a guy who knows a shit, and you are.
Speaker 5: One of those guys.
Speaker 3: Thanks Greg, you got it.
Speaker 4: And before we close the books, let the good people
know where they can further scratch the Jay DIYer itch
if they do want some more.
Speaker 6: Yeah, you can go to jasonalysis dot com No Apostrophe,
and I think I have there's over a thousand posts there.
I've got over six or seven hundred articles. I've written
one hundred and twenty or thirty movie reviews, and you
can find all that information there else to do a podcast.
For the last year that's gotten pretty pretty good traction.
Now you can find all the free hours and then
if you want to hear the full lecture talks interviews.
I also do lectures on things like tragedy and hope
or Plato's Republic. You can subscribe to Jaysonalysis for four
ninety five a month or sixty dollars a year. And
if you want the book Esoteric Hollywood Sex Cults and
Symbols and Film, you can. There's a PayPal button there,
and I do outside the US and inside the US,
and they are all signed copies. So I've got twenty
five star ratings on Amazon so far. The book's only
been out a month and it hit number one in
Amazon's Film in Hollywood category, so boom.
Speaker 4: And it is always best to get the books directly
from the author if you can, to cut out that
you know, monolithic Amazon middleman, right.
Speaker 3: Exactly, Yes, thank you.
Speaker 6: It does help me out a lot of you if
you'll are a direct from me, and I ship those
out every day so it doesn't take that.
Speaker 5: Long, right on.
Speaker 4: Well, awesome man, always a pleasure, I guess that brings
us to the end.
Speaker 3: Of the show.
Speaker 5: Take care of yourself out there all right?
Speaker 3: Thank you, Greg, you got it all right.
Speaker 5: Fun stuff.
Speaker 4: I really do like the Hollywood Breakdown guests because I've
grown up being such a media junkie, and even though
we all know it's a very persuasive tool, I think
there are always new elements to discover, and I really
think Jay is one of the best guys focusing on
this area.
Speaker 5: I like Mark.
Speaker 4: Devlin for music and Jay Dyer for movies, and I
thought a lot of great stuff was covered today. Probably
most memorable for me is that idea of ET being
about a conjured up spirit entity more than a space alien.
It sort of strengthens the narrative of a concerted effort
to put certain ideas into the culture about reality outside
of our immediate environment and beings beyond it, an effort
to depict magic, ritual and entities and paint it with
the brush of science, space and aliens. It's a curious
case to make because you have to ask the why
why would this be an agenda in Hollywood with cooperation
from NASA and military intelligence and also a flooding of
the alternative world with a bunch of space alien pushers too,
if you think that's a part of it.
Speaker 5: Some do.
Speaker 4: It's very strange. Some would say it's because the elite
were laying a base, because they planned a stage of
false flag alien invasion in the future. First you fight
nations like the Two World Wars, then you fight ideas
like terrorism, and then you fight a completely fabricated enemy
that you completely control with one hundred percent autonomy. Maybe
people do say that, but I always found it to
be a bit far fetched. Now, if you're a flat
earther or you already know why the directors are doing this. Obviously,
they're crafting the space concept for the collective consciousness, projecting
the futile possibility that we can actually rise beyond the
dome that encapsulates this island Earth, a full spectrum deception
of the highest order, the lie of life. Maybe I'm
also not a flat Earth guy, but I will meet
you in the middle and say that I love the
prison planet concept about as much as the hollow Earth,
and you could fit this stuff in that box. Or
it might be as simple as trying to expose the
masses to occult entities and esoteric rituals and their cabbalistic
belief system on the DL to Trojan Horse, the masses
into the occult could be, but the lens of space
and aliens does seem suspiciously significant, doesn't it. Maybe we'll
never know exactly what motivates that machine, but I think
it's pretty clear that those top directors, Spielberg, Kubrick, Cameron,
they serve an important function. I can't claim to know
what it is fully, and even James seems pretty flexible
as to the whys, which is great because it's very
arrogant to think we'll ever get at one hundred percent.
All we really can do is hold up different pieces,
look them over and see which ones fit better than others,
which perspectives and threads weave a tighter tapestry to get
us closer.
Speaker 5: To the truth.
Speaker 4: But we're born into a completely different world, shaped by
think tanks, wealthy industrialists, and international banking dollig archs who
all have an interesting preoccupation with some occult belief system.
Right right, Well, fucking a Jay Dyer. If you like
the stuff we talked about in the first hour in
the Plus show, we got into stuff like predictive programming
in the Trump presidency specifically, and back to the Future
in Grimlins two. And you know, I was unaware that
Jay had decided to throw his hat in Trump's ring,
and I really don't care or judge him for it.
It's just that everyone is so polarized now listener wise,
that a lot of people are like keeping score with
the guests, trying to make sure that their team is
equally represented.
Speaker 5: Don't be like that.
Speaker 4: Some people are scoring me way to the right, and
that is not fair because they're given right wing points
for the Pizzagate shows, and that is an elite issue,
not a right verse left one. I will not accept
those points, and it's going to come up. It's coming
up everywhere you look. But I'm spending less time on
political topics and more on just the fringe where we belong.
But really, you shouldn't care about either political side, or
at least you should be able to separate and appreciate
a person's expertise and just sort of recognize their worldview,
the lenses they look through. I mean, consider that in
what they say, and then just see what you can
pull out and apply to your own paradigm. It's not
really about every little thing or writing someone off completely
because they see one of about an infinite number of
issues differently than you do, or they take religion more
seriously than you do. You know how I am on religion,
and I still have guests that dear if I think
there's something I can appreciate about their work otherwise. But anyway,
we talked about a lot of great stuff today in
the second hour for those oh so supportive plus people,
GI Joe being a conspiratorial Schmorgesborg, touching on almost all
the major themes we hear about in the alternative realm
military recruitment films where you might least expect them. Doctor
Strangelove as an allusion to the Rand Corporation esoteric Hollywood
film shot on location at Rothschild Mansions. Also why the
Tavistak Institute would be studying Hitchcock films, the role of
seventies and eighties dystopia films like Labyrinth and The Dark Crystal,
the films of David Lynch, Jay's thoughts on more recent
films like Split and Arrival, and as icing on this
crazy cake, we talked about Chuck Palino's work. I never
know how to pronounce his name. I just take a
shot and Survivor by the way, if you did hear
the Plus show. Survivor is his book that involves a
hijacked plane.
Speaker 5: I couldn't believe.
Speaker 4: I couldn't think of it at the time, and we
talked about a lot of other good stuff too. Just
sign up for Plus already for only five bucks a month.
This show is supported completely by the Plus program. I
grew a pair and quit my shitty job managing a
game stop, built the Plus infrastructure and never looked back. Guys,
I try to be respectful of your time, give you
a great show, and I offered up for just that
five bucks, and I don't bother you with any other stuff. Yes,
I make t shirts based on episodes over at Higher
Side Clothing, but whatever, I hope you see the contrast
between me and other hosts the Higher Side and other
shows and recognize even things like the difference in audio quality.
I listened to a show the other day from a
channel that I have been a fan of or a
follower of. THHD was even a thing one of the
most well known in the alternative realm, and the host
she still puts up her interviews on YouTube with the
technical difficulties still in it, with terrible echoing throughout the
entire show. It's just like if doing interviews, it's what
you're gonna do for a living. Take a goddamn second
to get the audio right and package it up nice
for the people before you put it out there. It's
supposed to be your livelihood. So again, whatever, if you
like the show I do, if you think I do
a good job, go to the higher side chatsplus dot
com and sign up. It's really easy. You can pay
for three, six or twelve month chunks if you don't
like five bucks a month. I have a robust frequently
asked questions section on how to get the Plus feed
into your podcast players of choice.
Speaker 5: If you're worried about that, blah blah blah.
Speaker 4: Right, well, it does mean a lot to be listener supported,
and every host is just trying to get your money somehow.
But I wait to the end, and I like to
think that I spend less time pitching than any other show,
and I like the content.
Speaker 5: To speak for itself, So meet me in the middle here.
Speaker 4: But again, Jay is always a welcome guest, fun and
knowledgeable guy to talk to, and I have two more
shows due out by the end of the super short
month of February.
Speaker 5: So I'm gonna get on it. That is it for me?
Speaker 4: Your move, SoCal sorcers of eight millimeter magic and mental manipulation,
Your fucking move?
Speaker 6: Who?
Speaker 8: No, you see the world days and random its attached.
Speaker 7: To pub a stream control lover everything nine to five
try to steal you now, don't that job seems silly?
Speaker 1: Hello? Can you hear me?
Speaker 8: Should I play back recordings from some spying agency? Should
be wary, younger, Hell, I'll be thankful. Whens spokes the
fast and speed. See, there's such a differences between.
Speaker 1: Us and the damn girl show hallo rama. They're calling
out now, they're going. They'll tell you the start away,
the very late land spend done, and they'll call down
day sad shute from the web that's been swalled. Palla rama.
Oh there this homony? I like, that's a girl beloved
songy and no well knows, well have you heard that
about sad? Have you heard ab the real since long?
Speaker 3: No?
Speaker 8: There cartoons? It's so typical me to talk about this stuff.
Speaker 7: I'm sorry, that's good.
Speaker 1: And well did you ever.
Speaker 7: Hear the argument that nothing really happens?
Speaker 8: It's no see great and that the.
Speaker 1: Bed stage place.
Speaker 8: It's dube leaving your time.
Speaker 1: Color the high they're calling through their they'll tell you
move song pay He Captain and the dag sack shut
from the webne space for plafa high, challenging your page
and love, and they'll tell your mout Sony and the
battles bager, but we can't find edge with vilas the
mind verge once and the wall. That's the high they're
calling now. They're kind. They'll turn your song. Hey. The
Captain and the count said shut from the web mass priceful,
callous high like challenging your character. They'll turn you song
hey that the battles being on the weekends p ridge
with violence the wind. Where res one that's up