Speaker 1: Welcome everybody to the Journey Conversations with publisher Chris Milligan.
I am your co host Adam otherwise known as aw Finnigan.
Today we will be talking to Jay Dyer. Jay Dyer
is an author, comedian, and TV presenter known for his
analysis of Hollywood, geopolitics, and culture, and co writer for
the Sam Hide Show. His graduate work focused on psychological
warfare and film, and he is the author of two books,
Esoteric Hollywood one and two, with a third coming out,
and the co creator and co host of the television
show Hollywood Decoded. He has been featured on numerous popular
shows and podcasts and in debates with some of the
world's top debaters, and a fill in host for some
of the largest US radio shows. And now you're in.
Now your host, Publisher Chris Milligan.
Speaker 2: Thank you Adam very very much, and thank you Jay
for spending some time with us here. You know, these
are interesting times, to say the least. You know, a
lot going on, a lot to look at. And you know,
I guess I didn't realize your dissertation was about psychological warfare,
because you know, that's been one of a very main
interests of mine ever since my daddy and a professor
took me in a room and blew my mind, told
me stuff that it took me twenty years to understand,
but led me on an interesting path. So, Jake, psychological warfare.
What got you interested in psychological warfare?
Speaker 3: I didn't know what that was until probably college. I
remember I'd watched a lot of movies that I liked
growing up in high school. And I remember, you know,
enjoying Oliver Stone films and you know, stuff like that,
and conspiracy movies like Vic Donner's Conspiracy Theory with Mel Gibson.
And I remember when I got to college, I took
some classes on the connection between Hollywood and the history
of Hollywood, some film classes as well as straight up
history classes, and I remember that coming up in some
of the classes. And I remember somehow I got a
hold of one of the Trying Day books back when
I was an undergrad, and I remember reading Sutton's You
published Sutton Skull and Bones book, and I remember you
published the Lavenda trilogy, and I got a hold of
that trilogy. Somebody bought me that, I think for my birthday,
and I read that whole trilogy and I thought, this
is this is crazy, this is wild. So that got
me interested in psychological warfare. And at the same time,
I was taking these you know, college classes, and I
had a professor who was an old old school leftist.
Uh he was a history professor, and he told he
taught us a lot about uh CIA operations, Latin South America,
that kind of stuff. So that was kind of my
introduction was undergrad college. I didn't I still you know,
I don't consider myself an expert, but that got me
interested in just this whole domain of the overlap of
what the military and what intelligence agencies and what corporations
are interested in. And then you've got this other realm
over here of you know, movies and Hollywood and even
fiction writers, British intelligence fiction writers they did the same
stuff where they would you know, put their some of
the some of the elements of their operations into the
novels that they wrote. So that was what got me interested,
was just a combination of books and uh, you know,
some of your materials that you had published back in
the day, and college classes and movies.
Speaker 2: Yeah, yeah, yeah. I mean psychological warfare comes from the
German term meaning you know warld world view warfare in
other words, you want to get people in, you know,
invested into your worldview and different things. And we've had this,
you know, geopolitical things have been going on well before
we were all born, you know, and now it's very
interesting too. You know. I had the the executive producer
of twenty four, you know, call me up one day
and say, hey, you know, I think that our you know,
this series is being used to propagandize the American people.
I mean, those were his words to me. And and he,
you know, he had felt that, and so he went
out on the internet and started looking around and he
found a bunch of our books and and so you know,
he tried to make him into movies and he was stopped. Okay,
I mean, I'll tell just a little bit of the story.
I mean he called me up one time and you know,
he said he was being chased around town by a
white suv and he couldn't he couldn't shake it, and
he was this guy was driving a Ferrari. Another time,
he calls me up and says, you know, we've got
to redo all of our banking things because most of
their money was coming from a Mexican national and so
because of some laws. They had to really change it,
but they kept on working on these books. Michael Rupert
walked into their office and said, you can't make these movies.
And we hadn't even talked about it, okay, and says,
you got to make a movie about me? Okay, Rupert.
And then and then he finally calls me up one
day and says, you know, well, another time he called
me up and says, they're trying to get me fired.
They're saying that, you know, I'm out on sunset that
selling OxyContin at night. My boss knows that's not true.
So they kept on working on him. Finally he calls
me up and says, well, I've got to go on
a sabbatical for two weeks. And I say, okay, what's
going on? He says, somebody met his wife on a
street corner and said, you know, if you don't stop
what you're doing, we're going to kill your husband. And
then you what are your children going to do? Okay?
And I said okay. And he went on a sabbatical
and called me back up in about two weeks and said, well,
I guess we're just making Will Ferrell movies. So obviously
there are some people that have some vested interest on
what comes out from Hollywood and what comes out from Hollywood, Jay.
Speaker 3: A lot of propaganda. I think you summed it up
right there. I didn't, of course, you know, most of
us didn't know this growing up. I know you had
an oss you know, father or is there father or grandfather,
I don't remember what it was.
Speaker 2: It was father. He was C O I O S
S G C I A.
Speaker 3: Did you You probably knew a lot of this before
everybody else.
Speaker 2: I would assume, well, I had an inkling. I mean,
he told me about his intelligence career and and he
basically he gave me some information that that led me
to look into the subject I call C I A drugs,
which then led you to all kinds of different places
because those people were involved in a lot of the corruption.
Speaker 4: Right.
Speaker 3: Yeah, I've had a similar situation. I know this is
not on the topic of the question, but my uncle
had a really interesting career. He was an Air Force
intelligence person. And my family didn't tell me this until
way later on, and they told me all this stuff
he was involved in, which I had an inkling of
that too, but they didn't tell me until I was
much older about I think I was about age thirty
five before they told me all that, but there was
some you know, similar things there with I don't know
about drugs, but there was definitely some operations that were
being done that he did in the Cold War out
of Turkey in regard to the Soviets. But regardless, when
you go back into the forties and the fifties, one
thing I learned more recently that I think is really
fascinating is a lot of these A list people were
recruited into the OSS, especially you know, famous Hollywood people
working in different capacities and doing different things with the OSS,
and you then obviously into the CIA as well. So
when I learned that, that kind of shocked me. I
was kind of surprised by that. And that's maybe just
one element of the angle of the propaganda. You know,
you've got people within Hollywood spying on each other during
World War Two and then into the Cold War, and
then you've got people at the production level working with
people from the OSS and CIA as well.
Speaker 4: The OSS help.
Speaker 3: For example, John Ford, if I recall, win some of
his awards, he would not have won those awards if
he had not had such such help from the OSS.
So that's an element of excuse me, a propaganda that
was going on there. I believe it was Burnet's that
said Hollywood is the greatest engine of propaganda the world's
ever seen. And then of course you've got a lot
of influence from foreign countries. We could imagine what foreign
countries Israel, in other countries as we get into the
Cold War, they have a lot of influence in Hollywood,
especially when it comes to productions about the Cold War.
I'm not pro Communist or Soviet, but I definitely think
there was exaggeration going on. So, you know, World War Two,
you've got Corda Circle, You've got Hitchcock, You've got those
guys putting out propaganda, You've got Cold War, You've got
you know, CIA putting out consulting on movies, recruiting actors.
You know, there's no end to the propaganda. And corporations
as well. The corporations of course, have a lot of
influence and interest as we get closer to you know,
where we are now, more so maybe than governments, even
determining what themes films will will have, what narratives, what
product placement. You know, think of something like the CIA
consulting on Ben Affleck's Argo, which you know won the award,
the Academy Award that year, and that was of course
based on this CIA operation to have a fake movie
being filmed during the nineteen to what is seventy nine
hostage crisis in Iran. So these are just windows into
you know, the propaganda at different levels that we're talking about.
Speaker 2: Right. So now it's it called Lookout that studio that
was up at the top of the canyon, and you know,
that was an obvious facility that they were using to
produce and then also to uh, you know, integrate the
Hollywood people in there. And I mean, you know, it's
very interesting that you know, Ronald Reagan all the like
the training films for for World War two and whatnot,
he was basically the narrator for those, okay, which gave
his voice, you know, into a lot of people, so
they would trust him in blat of blah blah blah.
And then you had, you know, for the CIA films,
who was the narrator for that but Moses Heston you
know and whatnot. So what do you know about that
facility and what is it doing today?
Speaker 3: Yeah? Of course, just from an artistic perspective I enjoy.
I don't think I've ever watched a Ronald Reagan movie,
but I definitely enjoyed a lot of those Trump Hess
movies growing up up. But I wouldn't be surprised, you know.
I think he was friends with doctor Jillian West, which
is an odd connection, but I think, you know, Charlton
Hesson probably had some of those ties, shall we say,
as do many A listers still to this day. But yeah,
you're talking about Lookout Mountain Studios, which was if you
drive up Wonderland Avenue up into like if you're coming
from LA and you drive up into Tepanga Canyon, you
can go up up that route and you get up
to the very top. We've gone up there many times
since I wrote the first book, and you can still
see some of the elements of the old Air Force
stuff that the different owners I think has passed from
various Hollywood celebrities have owned this facility now, the last
being Jared Ledo. There's still some of the old Air
Force memorabilia there that you can see over his fence.
I wasn't stalking him, right, but you can peek over
the fence. You can peek over the fence and see
like some of the old Air Force stuff there. But yeah,
this was the most cutting edge studio of its time
back in fifties and sixties, and all of these Hollywood
executives had access to it. Walt Disney, starlet's like Merilyn
Monroe could go there. We don't even know all the
films that they did produce there, what always produced there,
but some of the things that have come out you
can still find on YouTube that we have some of
the propaganda movies that Jimmy Stewart did. He boy did
all of the voiceovers he's in a lot of the
those were pro FBI type films. He actually started in
a few of those FBI propaganda films back in the day.
So yeah, I mean, that's that's a great one to
demonstrate just this key tie in between corporations and Hollywood,
the studio system, the deep state government system, and you
know what they're churning out, and you know, you've got
basically the top people at the time driving up here
to that and then driving back to you know, the
other studios. So it's a big complex that's all intertwined.
And that's one of the key ways to prove that
right now.
Speaker 2: Uh, you know, you you do a lot of uh
explot well, I don't know about expose a's, but expositions
I would say about about different movies in your in
your books. And you know one thing that you know,
just I like movies, you know, I thought they were great.
You know, they'd be on TV. You know, you'd watch
them and different things. And and one thing that I
started thinking about, you know, because when you look at
Hollywood and la I mean, there's always been a lot
of cults and interesting people around there. And you know,
when you've got when you're making a movie and you're
making a movie about some of these occult and you know,
devil type themes, it seems to me that, you know,
the whole movie set becomes to a certain extent a
place to have rituals and to do quote unquote workings
when they're doing these movies. Do you have any thoughts
about that?
Speaker 4: Absolutely?
Speaker 3: I think I think it might have been Sensor Force's
trilogy where I first heard that idea, or maybe it
was some other article somebody had written a long time
ago to remember, But when you look into the way
that people who do ritual magic, who are interested in
that subject matter when they see their actions or even
their artwork. Even something like a film could be seen
as a ritual action. So you're putting your will and
your intention out there into the world through this product
to try to get your worldview accepted. You mentioned, you know,
velten schungskriga worldview warfare earlier. That's kind of what is
going on from a propaganda perspective with movies. But also
you could be trying to put out your worldview in
a more symbolic occult way like you're talking about. And
so the first chapter or section of the third book,
I call that Hollywood is Megas or magician, because there's
a great there's a classic novel that's in the canon
and Western Canadon literature called The Megas by John Fowls,
and he's famous because he wrote a really well known.
Speaker 4: Serial killer story.
Speaker 3: But The Vegas is interesting because you have this character
who's kind of an Aristotle of Nassas billionaire guy who
kind of can engineer everything in regard to this one
guy's life that he's kind of messing with. So he's
this wealthy guy who has nothing else to do other
than to kind of mess with young idiotic guys and
bring them to your billionaire island and sort of tweak
their worldview and see what you can get them to
believe and not believe. And so I said, you know
that character. I think his name is a Conchiese. He's
kind of an image of the way Hollywood works. You,
Hollywood's is the same kind of a thing, where it's
kind of giving us this world you throughout all these stories,
a lot of propaganda, a lot of bad messages, some
good messages here and there slipped through, but probably fewer
good than bad. But yeah, I think you also have directors,
to be more precise, who are explicitly into ritual magic,
who you have the idea that they're actually participating in
ritual workings. Somebody like Darren Aronofsky, who pretty clearly is
into Kabala. Kubrick, you could debate that. I've had some
discussions with Vivian and his daughter, and I keep trying
to get her to come to an interview, but she's
real hesitant to do that. But I think that clearly
Kubrick included some of these themes. How serious he took
any of that is up for debate. But other directors
are more well known. I think David Lynch definitely included
Tibetan Buddhist themes. You know, he included transital meditation themes.
So in those examples, it's clear. More recently, Robert Eggers
that directed The Witch and those fraw two, I mean,
I think he's pretty clearly a Crollian of some kind.
So yeah, that's what's going on at multiple levels once again.
Speaker 1: Right, I love that whole like vampire thing that became
really big.
Speaker 2: Yeah, all occult things, aren't you know. You know, it's
a it's a thing like a gun. I mean, it's
not you know, evil or bad. It's what it's what
people do with it because it is it is a
reality of what uh you know, happens in our in
our life. And I'd like to just go to a
different place here just for a little bit. I'd like
to talk about advertisements that we see on TV. Okay,
because I think that's one of the main ways that
they're radicalizing people and getting people into camps, and one
of the main ways that they're messing with us is
advertisements on TV. Do you have any thoughts about that?
Speaker 3: You know, it's a good one that I didn't really cover.
You know, I focused on sort of major films, TV
shows and some independent films and B movies. But yeah,
I think that's actually a good overlooked point at music
industry too, music videos, which are not as popular as
it used to be. But you know, it's funny. I
got rid of quote TV probably fifteen to twenty years ago.
I just got rid of it, and so I don't
see a whole lot of TV. Yeah, like when I
go over to somebody's house or if we're eating at
a restaurant, Well, that's really annoys me too. You can't
go to a restaurant now without TVs everywhere, which is
that to me is dystopian. We should be able to
have a meal without having to watch you know, sports
and ads. So I do see ads here and there.
And one thing I noticed, at least in the last
ten years is pharmaceutical ads everywhere. I mean, it's just
like you're just you can't even turn the channel without
you seeing just in you know, constant pharmaceutical, which to
me is very brave, New world, very dystopian. The idea
that there's a pill for every single, you know, thing
going on in your life. I think we're meant to
have depression at times in life. We're meant to have
bad experiences that you know, helps balance out with the
good experiences. So the idea that you should medicate yourself
at all times to have no experiences is kind of
you know, uh, kind of crazy to me. But you know,
advertisements also have a lot of odd themes of men
are usually in this sort of women role, or they're subservient,
the women are always bossing the men around. The men
are all idiots, they're all Homer Simpson, they're all you know,
Albundi type characters who are just total idiots. Advertisements probably well,
I mean they just kind of further the whole idea
of just endless, infinite, you know, consumption and consumerism. So
I think you're absolutely right that advertisements are overlooked and
ads to.
Speaker 4: A lot of the directors who.
Speaker 3: Became kind of prominent directors, many of them began with advertisements.
David Fincher, I think he went from ads and music
videos to being you know, one of the top sort
of directors that it's pretty nihilistic. Most of his movies
are pretty dark and nihilistic. So yeah, that's a good point, Chris,
I should have I should have.
Speaker 1: And then and then they also got into things like
subliminal messaging. I remember that by Jim Keith. What was
that book Jim Keith put that book out about mind
control I have over here.
Speaker 3: Yeah, yeah, but they did mass control, mask control that.
Speaker 2: Right, right, yeah, right, and it just you know, it's
part of the whole toxic soup. Okay. But then movies,
you know, I mean it's like you know, the the
quote unquote powers that be have you know, tried to
stop me many times and try to put us out
of business because you know, they don't like us publishing books.
But you know, it's hard to stop stubborn people sometimes.
And then also but when it gets to movies, they
move in with the big guns and stop it because
everybody goes to the movies. I mean, you know, we
have kids and we try and raise them and whatnot,
but you know, uh, they listen to the movies more
than they listen to the parents most of the times.
And then you know, you'll see how the movies take
a life of their own in the society where people
are relating what's going on in the world to the movies,
you know, and and and so they're making you know.
So it's it's really quite a toxic soup. So Adam,
you know what what what are your thoughts and all
of this and comments.
Speaker 1: Yeah, it's like I I'm like him. I got rid
of my TV a while back, and I started I
just read all the time, like I love books, and
you know, talking to other people, it's just it became
apparent to me people are so used to having the
TV and stuff. It's that a lot of people can
hardly even read a page. They're just like, oh, I
don't you know. It's like we've been really just kind
of dumbed down and almost like a trance. The TV
kind of puts them into a trance. And yeah, I
just said, it's it's it's something else. I mean I
like movies though, you know, I do watch movies and stuff.
It's just I have a TV here, but it's never on,
like I've never I.
Speaker 4: Barely even use it.
Speaker 1: I'm always reading and I keep a long list of
every book I read. I keep and that's my way.
But yeah, some people just.
Speaker 2: Well, yeah, my daddy, my daddy told me, he said,
you know, read it all, so you know, I look
at it now. I mean, I'll watch the news from
the from the different uh you know, outlets to see
what they're saying, because you know, he told me, you
learn so much from missing disinformation about where they're trying
to send you and why, and then what they're not
telling you too. You know, So Jefferson had he said,
you know, he did a little bit more flowery, but basically,
you know, you have to do your homework because if
you don't do your homework, good chance you're going to
be played, you know, and and and whatnot. So, uh, now, Jay,
you came from a philosophy background to you know, you
studied a lot of philosophy in college. What what can
we learn from philosophy? Why should we care about philosophy?
What does it mean to today's world?
Speaker 4: That's a good question.
Speaker 3: So the key issue of philosophy is what is the
meaning of life?
Speaker 4: What is the examined life? Right?
Speaker 3: So, if you go back to Socrates and Plato, Socrates
made a lot of people mad in Athens because he
went around asking questions. And the classic dialogue is Plato's Apology,
which is about this story of Socrates walking around and
asking everybody, you know, what's the meaning of this? Why
are you doing this? What's the meaning of life? And
he went to all the different people in Athens, including
politicians and craftsmen and tradesmen, and everybody has the same
answer that whatever they're interested in or whatever they do
is the answer to life, and that's the meaning of everything.
So the politician, of course, says, well, life is politics,
and then the you know, the tradesmen says, well, life
is about you know, your craft and your your trade.
And eventually it goes to the oracle Delphi and says,
you know, who's the wisest man? And the oracle says
you are, and he says, well, why am I the
wisest man? I don't know anything. And the point was that, well,
you're the wisest man because you ask the questions why.
Speaker 4: Right.
Speaker 3: So one of the things that philosophy does, it's sort
of its essence, is getting us to ask why is
this happening?
Speaker 4: What is this? What's the meaning of life? The examined life.
Speaker 3: As Socrates says, as Plato says, is the only life
worth living. So that's the basics. And then as you
get into more advanced modern types of philosophy, you get
the idea of critical thinking and logic and analysis which
points out things that don't make sense, contradictions. So, although
we might not think that philosophy has much to do
with advertising or propaganda, if we recognize fallacious argument's bad argument,
and they help us to identify the propaganda. For example,
go back to weapons of mass destruction, the story, for example,
of that propaganda firm that Bush Senior was involved in
that had the Iraqi ambassador daughter go up there and
say that he's doing.
Speaker 2: The babies out of the incubators.
Speaker 3: So we got to go to war because supposedly there's
weapons of mass destruction, balls of gas that Saddam has
and he's throwing babies out of incubators. Well, on the
surface of it, it's kind of absurd. Why would Saddam
walk through and just throw babies out of incuba? It
doesn't make any sense. And then of course, if we
knew a little bit of the history, we'd know that, well,
Saddam has a history of being trained by the CIA,
and he's pictured in Buddies with Rumsfeld the Pentagon, So
it's like we would know that there's something about that
doesn't make any sense, and it's it's an absurd story
on its face. And then we would have we'd be
able to notice contradictions in the narrative, well, why would
we be friends with Saddam or why would we be
friends with the Mujahadin? And then suddenly there are enemies
the next day, So something doesn't make sense there, something
else is going on. And philosophy just helps you kind
of at a really basic level, use critical thinking to
not be duped by advertising tricks or propaganda which plays
on your emotions. Right, you hear this story of babies are.
Speaker 4: Thrown out of.
Speaker 3: We Got to Go after saying they did the same
thing with a sad right Asad is gassing his own people,
and the BBC puts out this story and later, oh,
it turns out that BBC story wasn't true. And so
you know, wartime propaganda always utilizes these really hyped up
emotional sensational with stories, and philosophy could help recognize how
that doesn't make sense. And movies push the propaganda. They
pushed the pull on your heartstrings through the stories, and
you identify the bad guys through these through these movies
that unknowingly propagandizes you against you know, X, Y Z enemy.
Speaker 5: I would say that philosophy kind of also helps you
put yourself in your own story, kind of like we've
been talking about with those round tables about putting yourself
in your own story, writing your own story for your life.
And philosophy helps, I guess, helps you gravitate to where
you kind of need to be at.
Speaker 2: Right, and so it in conspiracy literature, h you know,
there's a lot of talk about Hegel and and you
know they think Hegel is a bad guy, and you
know Hegel was really just you know, trying to explain things,
and can you can you talk about Hegel a little
bit so people can hopefully understand a little bit more
rather than just going for a quick bullet point.
Speaker 4: Yeah.
Speaker 3: I think with most with most philosophers, there's good and
bad pros and con you know, with Plato, he could
be used for the idea of the individual coming to
enlightenment through rational you know, process and thinking and dialectics.
And it could also be turned into the Plato's Republic
becoming some kind of proto you know, communists, super state.
You know, philosophers can be used in different ways. Hegel
is very dense, it's very abstract, it's very idealistic, not
in the sense of an idealistic, revolutionary, but idealistic in
the sense of everything that exists is mind, geist or
idea or spirit, as he says, So he's somewhat similar
to Plato. But one of the things that he wanted
to do was reconcile the idea of change or process
versus everything being in a pure, static, immobile sense that
Plato thought about the real world or the forms. So
for Plato, this is a changing, fluctuating world, and the
real world is the ideal realm of the forms. So
Hegel has to be understood in a context of wanting
to reconcile and fix some of what he saw as
old philosophical problems that were still lingering. So if Hegel
thinks that dialectical process in terms of the world itself,
helps to explain where the world is going, what's happening,
how everything is mind or spirit at root, and in
his mind in some way, eventually everything would sort of
culminate into some sort of what he called an omega point,
which is some kind of everything becoming one. It's kind
of mystical, it's kind of unclear. But Hegel's used then
by people like Carl Marx who just sort of flips
Hegel and gets rid of all the spirit geist stuff
and says, Hegel's right about all the stuff he's talking
about about dialectics furthering the whole process of the world
moving towards its purpose. But it's not spirit and all
this mystical mombo jumbo. It's just matter in motion. So
that's where Marx takes Hegel and turns him on his head.
But at root, Hegel is just a kind of process
philosophy or theology that is rooted ultimately in elements of
Hermeticism and Kabbala' that's actually been demonstrated now in some
recent academic literature.
Speaker 4: Who are Hegel historians and philosophers?
Speaker 3: So that's the process philosophy that So Hegel's philosophy is
a bunch of little triangles where thesis and antithesis come
together to produce a higher order of synthesis, which is
a more true revelation than the previous partial knowledge. Right,
So that might be a little abstract, but that's really
the whole Hegelian system. And Hegel doesn't just think that
you or I interacting right now in that way is
further into dialectic. Everything in the world is operating to
further this dialectic towards ultimate synthesis at some future endpoint
in time. Thus, Hegel could be used by a Nietzschean,
he could be used by a communist, He could be
used by a transhumanist. Any of these philosophies could sort
of take that and say, hey, this is our end goal.
Speaker 4: I mean the Reich.
Speaker 3: Some of the philosophers of the Reich liked the idea
of Hegel, and they said, hey, what Hegel's saying is
our Reich is the end goal of history. Marx could
say the you know, whither away the state is the end.
Speaker 4: Goal of history. So he could be used by various.
Speaker 2: People right right now. I don't know rightly or wrongly,
but I look at a dialectic basically as one of
our failed safe devices that we have all as a group,
because you know, I'll say some things I know are
true about secret societies, drug running and intelligence agencies. And
now I'll find somebody that's a spook saying something you
know a little bit more outrageous. He'll put lives in it.
Because by controlling the extremes, you control the middle, yes,
and whatnot. So thank you, I really appreciate all this
talk about philosophy. It always helps me to understand things
and U. But let's get back to your books. Esthetary
Hollywood one, Esthetary Hollywood two, and the soon to be
when I come out Esotery Hollywood three. And now how
do people find you? And and what all are you
doing out there? You have some pot you do interviews
and whatnot. How do people find you and whatnot?
Speaker 3: Yeah, I'm on the major social media outlets except for Facebook.
I'm not a huge fan of Facebook, so I kind
of I mean, there's still a page there, but I
don't really pay much attention to it.
Speaker 4: I'll update it every now and then.
Speaker 3: Mostly I'm on YouTube now, and that's kind of the
biggest platform, so I do live streams and videos almost
every day, maybe every other day. That kind of became
the main outlet for me. But I'm also on Instagram
and I'm on Twitter, so people can find me on
all those places, and now TikTok as well. But yeah,
so you can find me there. You can get access to,
you know, the previous books in the shop at my
website jaysonalysis dot com. All my stuff is there, are
all the archived lectures and interviews and talks the last
ten years or so, and the shop you have to
click on the shop tab and you get the two
st CALLAB one and two. But yeah, I mean it's
been a it's been a wild ride for the last
you know, eleven or almost almost ten years. The first
one came out in twenty sixteen, so we're nine years
out of Callywood one. I'm really thankful to you for
you know, seeing the potential of that and and you know,
publishing that. I think it went. It went for a
great run. And then Part two was great as well.
It was a little bit different. So one we we
focused on a lot of the directors like Kubrick, Hitchcocks, Bilberg,
so the main players in terms of directors.
Speaker 4: And then in part.
Speaker 3: Two it was more thematic, where I talked about organized
crime and I talked about mafia, you know, we talked
about intelligence agencies in Hollywood, of geoengineering, even how that's
portrayed in film. And then this more recently Part three
will be focusing on some of the same material. But
I decided to divide it up into areas that I
never really got to in the first two that were
really important. So we've got comic books. I had so
many people messaging and dming over the lead years. Hey,
you're not covering comic book movies. Those are really big,
those really important, and you know, comic book films took
over Hollywood maybe for the last twenty years. When it
comes to the blockbusters Marvel films. I liked comic books
when I was a kid. I'm not not a huge
comicbood fan anymore as an adult, but for whatever reason,
this just took over, and then Disney bought out Marvel,
so it's you know, it's just a massive thing. And
they're pretty heavy with propaganda. I would say back in
the two thousands they were a little more revelatory in
terms of good, good ideas, and then as we got
you know, more and more up to where we are now,
they're pretty much almost unwatchable.
Speaker 4: So I haven't watched a lot of the.
Speaker 3: More recent, you know, three or four years of comic
book movies, but I did watch throughout the twentys and
twenty tens most of them. So I try to pick
out some of the ones that were really interesting, including
the Christopher Nolan films. I think he's a pretty good
director hit and miss when it comes to some of them,
but you know, he has a lot of union themes
that we highlight in his Batman trilogy.
Speaker 4: And then we go into.
Speaker 3: Dystopian films that I never got to, Mad Max, that
kind of stuff, and then a numbering archetype I wanted
to cover that not a lot of people have noticed
except for some of my friends that the SYSA podcast,
they have highlighted this theme of this sort of dark
goddess that's emerging through a lot of films in the
last twenty or thirty years. So we did a whole
section on that, the whole section on independent and B
movies that I thought were worth people's viewing if they
were interested in this idea of truth in B movies,
and then Hollywood Alchemy, horror Trauma that was I wanted
to hit some of the classics. Electory Detective which was
pretty dark, had obvious you know, Krollian satanic cult themes there,
and then it's some more on key propaganda in Tom
Cruise's Mission Impossible stuff, all that's based on the Howard Hunt,
you know, in his his background, his history, and then
some elements of Hollywood spies, actors, who've been recruited into
intelligence work, and then a little bit on Hollywood and
christ and how that's been portrayed in various films. I
think we're kind of at the end of the old
model of the studio system. I mean, you've had a
lot of directors like Spielberg, you others coming out saying
the old studio system is pretty much done, it's going away.
Nowadays it's Apple Studios, Amazon Studios, so the tech companies
are kind of buying out and taking over old Hollywood.
And also, movies are a lot less popular with gen Z.
The younger people. They watch scroll TikTok all day and
they play video games, so I think that they don't
care as much about movies. So it's kind of synchronicity.
I guess you could say that, you know, this last
one that we wrote that I wrote here, well there
might be more, I don't know, but you know, Part
three ends up being sort of the end of at
the end of the old Hollywood system. So it's apocalyptic.
It's an end of the era. So I think it's
a fitting kind of title.
Speaker 2: Right right, And well, you know, I do think that
they are moving some of that propaganda stuff into the
video games, and so let me let me ask you
a question here, what would you now you know you've
gone through all this and this research, what would you
tell your your your own self, you know, ten fifteen
years ago, what have you learned that you know, really
profoundly affected you?
Speaker 4: I think another good question.
Speaker 3: I think so in the first series of essays, in
part one, there was a lot of speculation and a
lot of symbolic interpretation that it's not that it's bad,
it's just a little kind of kind of speculative, shall
we say. And I think nowadays I would have found
it a lot more interesting to have written more about.
But you know, at the same time, there wasn't a
whole you know, ten fifteen years ago, there was even
less information out about people in Hollywood and their their
ties to intelligence. I would have focused more on some
of the stuff that that I put towards the end
of this third book, had I known about it. I
think that's more interesting, maybe even than some of the
propaganda in the films.
Speaker 4: But I think that comes with age two.
Speaker 3: You get a little more mature, you're more interested in
you know, well, it's actually more interesting that you know,
Julia Child's working with the OSS or you know, somebody
like Jimmy Stewart, you know, working for the FBI. That's
a little more interesting than you know, this movie over
here with this symbol over here, which is not that
that's not interesting, It's just I would have focused more
on that. I would have looked more at, you know,
modern people. You know, I think some of these big
some of these big A listers themselves have been perhaps
doing you know, I think people like Sean Penn or
people like George Clooney, you know, those kind of a
list people could have been more interesting as a focal
point even back then if I'd known about it, maybe
some of the production companies, some of the actual operations
that were done and apparently about using movies as covers,
that could have been I think a better approach, less
of the speculation.
Speaker 4: I guess.
Speaker 2: Yeah. Well, you know, somebody comes up and tugs on
people's patriotic heartstrings, and you know you can get them
to do most anything. Adam, you have any last thoughts
here about this interview?
Speaker 1: This was a really this is a great time. Hopefully
maybe I can get you on Try and Day Treasures.
I do a new podcast for trying day authors and stuff.
Maybe down the line we.
Speaker 2: Can do it.
Speaker 4: Sure anytime.
Speaker 2: Okay, well, Jay, I want to thank you very much
for your time. And you know, people, if you want
some education, you know, check out j on YouTube and
check out his books and anything. And onwards to a
better future for our children.