It's been around 9 years since I first learned about the degeneracy and concentrated evil that props up Hollywood, or Hollyweird if you wish.
I had an inkling I might see the fall of the magic machine in my life. I hoped that would be coupled with exploding consciousness of the heinous practices that permeate the military, industrial, scientific, congressional and entertainment complex, but it was never a sure bet, and it has been a lonely journey.
Soul crushing for the greater part.
That's all changing now, and while it wont be on the horizon of mass media consumers, it will soon be on their doorstop and impossible to ignore.
I dedicate the Zapatilla track above to Hollywood and more importantly their unconscious consumers who are entertained to death for a wee while longer, as the gravity of how it really works sinks in.
Warner Brothers, like every Hollywood studio is in deep trouble.
When the masses discover how Hollyweird works it will tank, along with it's celebrity spunkdom, Faustian pacts and child raping directors including Spielberg and Woody who both appear in this new documentary, but obviously to airbrush Stanley's legacy when there's so much more to the man.
Kubrick was the Illuminati's film director and had access to a lot of information unavailable to most people before the internet. In this documentary I was reminded that Adrenochrome is mentioned in Clockwork Orange, in addition to the main theme of MK Ultra programming.
Kubrick took a lot of risks and may have paid the highest price. Or he might have just run out of being useful and thrown under a bus. One day we'll know.
Not my usual choice of movie but the idea of living through cloned borgs makes a lot of sense when we see how many live vicariously in the worlds of Corporate Mass Media, HollyWeird, Celebrities, Video Games and so forth. Also the vanity aspect of it is intellectually robust as nobody lives the vicarious life of a homeless person or a battery chicken. Which is ironic because that's what low consciousness living is in many respects. Battery Chicken living.
The one hour extended mix via the great Owen Benjamin Comedy who is single-handedly spilling the beans on Hollyweird and how it all works, while he gets banned from all the usual social media channels.
That cast is conveniently covered up by the most powerful magician's spell on the planet. It's called Hollywood movies, and is the same reason the existential threat is always swinging from terrorists to zombie pandemics with no mention of who bombed the United States and the United Kingdom with no punitive response taken after WWII.
This movie is largely populated by Italian American actors who went on to have solid lifelong careers, such as Pacino, Andy Garcia and De Niro, but it's the presence of James Caan who stood out like a sore thumb, and not a very persuasive one at that.
There's a kind of subtle story-telling 'thruther' aspect in this trilogy if you're paying attention, but if you're not, it's still a great Cosa Nostra trilogy.
I haven't completed part III yet so I may update this when it is finished.
Update: How magnificent is Sofia Coppola, in Godfather III? Very, is the answer. There's a kind of circularity, in so much as in one scene, she takes the camera, while being directed by her father, Francis Ford Coppola, only to end up having an extraordinary female director's success in her later career. Part III lacks the texture and richness of Part 1 and 2, but what it lacks in slow, moody and baroque-lit scenes, is compensated by more excellent Sicilian and Vatican film locations. For some reason, the critics panned her performance, but this is clearly a case of ignorance or envy. Mary Corleone, played by Sofia is spelling binding. I'd probably have to watch this triptych again to scrape away at some of the more resonant topics visited in this excellent set of movies. Update: Happy Birthday Sofia. What a coincidence or should I say synchronicity?
If you're still wrestling with how the Q information tipped us off on so many intel leads, including the forecasted death of Ruth Bader Ginsburgback in February 2018, you're gonna struggle with the avalanche that is coming.
When we first read Hunters become the Hunted on the Chans in July last year, we naturally thought it applied to all the deep state scum, but in fact this was largely aimed at Hunter Biden.
The most censored story on Twitter and Facebook right now (and possibly ever), is the New York Post article which describes Hunter Biden's broken laptop that he left with a repair shop, and never bothered to pick up. I've linked to it, but also embedded a pdf above as this kind of info has often been scrubbed in the past.
The emails on Hunter's laptop incriminate him and his father, Democratic presidential hopeful and former VP to Hussein, in a real RUSSIA RUSSIA RUSSIA, collusion story, that the left/pseudo-liberals/corporate media/academia and Hollyweird will again ignore, as it's their guy, and not "Orange Man Bad" who is in the shit.
One of the pictures on the laptop is of Hunter Biden asleep in his bed with a meth pipe. I've used an illustration above as let's face it (oxymoron), nobody goes to sleep with a meth pipe in their mouth, and so it was probably put there by the sex workers he hired.
The problem with the Hunter Biden story to the electronically entrained left, is that it's just run of the mill corruption, and so the social media giants are now censoring the hell out of it, leaving the left, once again, ignorant on the most vital information.
If the laptop had underage porn/minors on it instead, then it would almost certainly earn a Special on Netflix and trend at #1 under a name like Cuties with a 12 year old girl taking a selfie of her vagina.
2nd Update: One of the most insightful Q researchers JoeM has outlined in simple language what is most probably going on. Start at the bottom of the images and work your way up if you want to process it in chronological order.
At the 38th minute Julianne Moore playing Havana Segrand experiencing visions of her mother asks John Cusack "Am I a multiple". It's the only popular reference I've seen to reality's dirtiest secret that mind control is used on a wide cross section of prominent society from celebrities, sports stars, Presidents and yeah if you wish assassins and intelligence operatives too. However most mind control is movie and corporate media programming. It's also very effective at that level and easy to prove.
It only gets a mention because Cusack's films are just enough, off the radar to get away with it but I'm grateful for it because each sliver of evidence builds a pointillist picture.
I've no problem in admitting mistakes because I don't have the military industrial complex or government handcuffs to sit Dick Cheney in a room and pull his pacemaker our with pliers till he speaks.
I have to rely on the best information I can get my hands on at the time.
I've no real interest in the World Trade Centre towers military grade demolition on 9/11, because it's the million or so Iraqis and Afghanis that are the victims, not the Israelis, British, French or Americans who actually orchestrated most of it. You know. The perpetrators.
However, I hope you were watching your freedoms get pick-pocketed by the war entertainment complex since then.
Here's Butler Shaffer's views on the matter. It's erudite thinking and you really must read it to appreciate a mind ahead of its time.
If I were to offer a seminar on the nature of war, I believe that the first class session would include a showing of the film Wag the Dog. Those who wish to justify the obliteration of hundreds of thousands of total strangers in the name of "good" versus "evil," or "national honour," will likely find the movie discomforting. As the governments of India and Pakistan self-righteously, and in the name of "God," threaten one another with a nuclear war that could instantly kill anywhere from ten to twenty million people, it is time for decent, intelligent people to put down their flags and begin to see war for what the late General Smedley Butler rightly termed it: "a racket." This film offers a quick reality fix.
Randolph Bourne's observation "war is the health of the state" is familiar to most critics of militarism, but few have delved into why this is so. Statism is dependent upon mass thinking which, in turn, is essential to the creation of a collective, herd-oriented society. Such pack-like behaviour is reflected in the intellectual and spiritual passivity of people whose mindsets are wrapped up more in images and appearances than in concrete reality.
Such a collapse of the mind produces a society dominated by entertainment — which places little burden on thinking — rather than critical inquiry, which helps to explain why there has long been a symbiotic relationship between the entertainment industry and political systems. Entertainment fosters a passive consciousness, a willingness to "suspend our disbelief." Its purpose is to generate amusement, a word that is synonymous with "diversion," meaning "to distract the attention of." The common reference to movies as a form of "escape" from reality, reflects this function. Government officials know what every magician knows, namely, that to carry out their illusions, they must divert the audience's attention from their hidden purposes.
Michel Foucault has shown how the state's efforts to regulate sexual behaviour — whether through repressive or "liberating" legislation — serves as such a distraction, making it easier for the state to extend its control over our lives. It is instructive that, in the months preceding the World Trade Centre attacks which, in turn, ushered in the greatest expansion of police powers in America since the Civil War, the news stories that dominated the media had to do with allegations of adulterous affairs by a sitting president and a congressman. It is not coincidence that both the entertainment industry and the government school systems have helped to foster preoccupations with sex.
The authority of the state is grounded in consensus-based definitions of reality, whose content the state insists on controlling. This is why so-called "public opinion polls," rather than factual analysis and reason, have become the modern epistemological standard, and why imagery — which the entertainment industry helps to foster — now takes priority over the substance of things.
Politics and entertainment each feed upon — and help to foster — public appetites for illusions and fantastic thinking. The success of such undertakings, in turn, depends upon unfocused and enervated minds, which helps to explain why motion picture and television performers, popular musicians, and athletes — whose efforts require little participation on the part of the viewer — have become the dominant voices in our politicized culture. It also helps to account for the attraction of so many entertainers throughout the world to visionary schemes such as state socialism, as well as the increasing significance of entertainment industry gossip and box-office revenues as major news stories.
The entertainment industry helps shape the content of our consciousness by generating institutionally desired moods, fears, and reactions, a role played throughout human history. Ancient Greek history is tied up in myths, fables, and other fictions, passed on by the entertainers of their day, the minstrels. We need to ask ourselves about the extent to which our understanding of American history and other human behaviour has been fashioned by motion pictures, novels, and television drama. Through carefully scripted fictions and fantasies, others direct our experiences, channel our emotions, and shape our views of reality. The fantasies depicted are more often of conflict, not cooperation; of violence, not peace; of death, not the importance of life.
Nowhere is the interdependency of the political and entertainment worlds better demonstrated than in the war system, which speaks of "theatres" of operation, "acts" of war with battle "scenes," "staging" areas, and "dress rehearsals" for invasions. The pomp and circumstance of war is reflected in military uniforms that mimic stage costumes, all to the accompaniment of martial music that rivals grand opera. A Broadway play can become either a "bomb" or a "hit;" troops are "billeted" (a word derived from the French meaning of a "ticket"); while the premier of a movie is often accompanied, like a World War II bombing raid, by searchlights that scan the skies. Even the Cold War was framed by an "iron curtain." Is it only coincidence, devoid of any symbolic meaning, that at the end of the American Civil War - one of the bloodiest wars in human history - its chief protagonist was shot while attending the theatre, and that his killer was an actor who, upon completing his deed, descended to the stage and exited?
Adolf Hitler understood, quite well, the interplay between political power and theatre, a truth that continues to reveal itself in entertainers involving themselves so heavily in political campaigns, some even managing to get themselves elected to Congress or the presidency! Nor was it surprising that one of the first acts of the Bush Administration, following the announced "War on Terrorism," was to send a group of presidential advisers to Hollywood to enlist the entertainment industry's efforts to portray the war as desired by Washington! As with earlier wars, the "military/entertainment complex" will continue to write the scripts and define the characters that are required to assure the support of passive minds in the conduct of war.
Furthermore, because entertainment is often conducted in crowded settings (e.g., theatres, stadiums, auditoriums) there is a dynamic conducive to the generation of mass-mindedness. One need only recall the powerful harangues of Adolf Hitler that coalesced tens of thousands of individuals into a controllable mob, to understand the symbiotic relationship between entertainment and politics.
Entertainment is a part of what we call "recreation," which means to "re-create," in this case to give interpretations to events that are most favorable to one's national identity and critical of an opponent. In this connection, entertainers help to manipulate the "dark side" of our being which, once mobilized, can help to generate the most destructive and inhumane consequences. World War II movies portrayed Japanese kamikaze pilots who crashed their planes into Navy ships as "crazed zealots," while American pilots who did the same thing to Japanese ships or trains were represented as "heroes" willing to die to save their comrades. German and Japanese soldiers were presented as sneering sadists who delighted in the torture of the innocents, while the American soldiers only wanted to get the war over with so they could get back home to mom and her apple pie! How many of us, today, think of 19th century U.S. cavalrymen — as portrayed by the likes of John Wayne and Randolph Scott — as brave soldiers, while Indian warriors were "savages" for having forcibly resisted their own annihilation?
All of this leads me to ask whether the entertainment industry is an extension of the war system, or whether war is simply an extension of our need for entertainment? What should be clear to us is that entertainment is one of the principal means by which our thinking can be taken over and directed by others once we have chosen to make our minds passive, which we do when we are asked — whether by actors or politicians — to suspend our judgement about the reality of events we are witnessing. When we are content to be amused (i.e. to have our attention diverted from reality to fantasy), and to have our emotions exploited by those skilled in triggering unconscious forces, we set ourselves up to be manipulated by those producing the show.
Politics differs from traditional theatre in one important respect, however: in the political arena, we do not call for the "author" at the end of a war! Most of us prefernotto know, for to discover the identities of those who have scripted such events might call into question our own gullibility
This is a must listen presentation by Jacob Appelbaum (@ioerror) on NSA spying. Particularly towards the end if you want to hear about the wave beam spying.
The NSA has exotic technology often discussed in conspiracy research circles only, and ridiculed as tin foil hat, kook, wacko conspiracy theory by the corporate media who have an interest in propping up the system as they too are complicit in many of the HollyWeird productions now being peddled as news.
Anybody who has for example, ever criticized anybody privately, in an email or watched some internet porn is compromised. The NSA will have no hesitation in blackmailing people to be their assets in the future.
That's what happens when the psychopaths are in charge.
This is only the beginning. The satellite scanning of humanity is well discussed elsewhere on the net.
It's a prison planet unless you're watching your footy and reality TV and commenting on celebrities.
I don't know about you but there's something about Edward Snowden that doesn't add up. I don't buy that he still isn't working for the national security parasite complex. He's not a computer administrator. He's a CIA spy who worked in Switzerland as such. Update: He reminds us of his CIA career.
He's too smart to have rejected a college education without giving a good reason and hints in this interview (on Youtube now pulled) at an 'informal education' that somebody provided.
Snowjob hasn't told me anything I don't know and he flat out tells a lie in this interview that he gave all his information to the American public.
Nevertheless, the German Interviewer (video now pulled) here is so much more superior than the dribble the English language media-world spits out. Take a look yourself. Make your own mind up.
Update: Wayne Madsen confirms that it's most likely Ed Snowjob is factional warfare between the CIA and NSA. This makes a lot of sense. Any friction between the two is good for us but that doesn't mean we're getting the whole story.
Strange isn't it? How Polanski directed this movie (which stars Jack Nicholson) just before drugging and anally raping a 13 year old girl in Jack Nicholson's apartment and legging it to France. The irony is that he inserts himself into the movie for a cameo gangster role where he slits Nicholson's nose.
I would argue this act was mirrored in real life, through the movie, in a way that we saw synchronism echo massively in Rosemary's Baby. Again directed by Polanski. It's as if the potential use of some kind of synchronism-sorcery has a ripple-effect on an event that acts as an alarm bell to those with a nose to tell. I was tipped off about Chinatown by Jay Weidner who has redeemed himself in recent months by talking openly about Chosenite influence and spilling the beans on Spielberg. Faye Dunaway is great as usual. Portraying the most untrustworthy of women though she does have an excuse. The opening scene is about blackmail and at the end (spoiler alert) it's about her super elite father raping her and producing both a daughter and a sister. And that's how Hollyweird rolls.
I can no longer writer lengthy posts here as they vanish in front of my eyes. I'm not looking for sympathy, there may be a very good reason for it, but it's no more text for a while. Mel drops an absolute banger of Hollyweird intel in this. Few will notice.
As soon as I read the marketing people hadn't backed All is Lost, despite winning rave reviews (HollyWeird™ prefers to pimp low brow propaganda these days) I downloaded it immediately.
If you like your political commentary humorous I've just watched for the first time, Wag The Dog. Despite the gravity of the subject Dustin Hoffman's irrepressible Hollywood producer character made me laugh quite a few times with memorable lines such as 'it's all a change of wardrobe'.
Set in the 90's the movie eclipses domestic events when Clinton was bombing essential medicine factories in the Sudan to distract from sexual scandal at home. This war crime act was responsible for destroying 50% of Sudanese medicines and 90% of critical drugs which killed thousands upon thousands of babies, the elderly and the the sick. Wag The Dog also needs a diversion abroad and so the U.S. picks on Albania as a new "Terror threat" with a suitcase bomb. This was before 9/11 and the accuracy of how the media is used to hypnotize us all into demonizing the enemy is extraordinary. The genius of the movie is it makes us laugh and think at the same time. Hoffman's performance is unbeatable. When he's good he's really good.
There are lots of torrents available to watch this movie through this and other search engine findings. There's a song rustled up during the movie to keep sentiment high. It's extraordinary how close it is to what was later produced at the 9/11 NY Charity Rock Concert. People should be angry about how they were duped but I don't think most can handle the truth so that obligation will be forced on them at some point.
Update: At the end of the movie the new terrorist group is called the Albania Terrorist Group. I'm struck how close this sounds to Al Qaeda and wonder if this was deliberate given the movie is pre 9/11.
