Well-placed propaganda created by the intelligence agencies and military has been used as a tool for control and Hollywood is now more than ever, answering to the Pentagon in order to prepare the world for war and possibly a nuclear confrontation. America can now expect a consistent fountain of disinformation to flow unhindered from the mouths of Deep State actors and the exploitative globalist power establishment while advancing its geopolitical agendas. Tonight on Ground Zero, Clyde Lewis talks with media analyst and author, Jay Dyer about THE NUCLEAR DEMON AND THE PENTAGON - ITundefinedS ALL IN THE MOVIES.
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Time and again, you see connections between the plutocratic class which effectively owns America’s elected government, the intelligence and defense agencies which operate behind thick veils of secrecy in the name of “national security” to advance agendas which have nothing to do with the wishes of the electorate, and the mass media machine which is used to manufacture the consent of the people to be governed by this exploitative power structure.
After World War II, the Central Intelligence Agency has been a major force in US and foreign news media, exerting considerable influence over what the public sees, hears and reads on a regular basis. CIA publicists and journalists alike will assert they have few, if any, relationships, yet the seldom acknowledged history of their intimate collaboration indicates a far different story; indeed, one that media historians are reluctant to examine.
The CIA and similar intelligence agencies’ have had continued involvement in the news media to mold thought and opinion in ways scarcely imagined by the lay public.
Now the media does not seem to want to hide the fact that they have now brought on Intelligence consultants and distributors that have a major conflict of interest.
They are there to hold in contempt those they believe are spinning conspiracy theories -and now it becomes more of a challenge to maneuver through allegations of delivering misinformation to the public.
America can now expect a consistent fountain of disinformation to flow unhindered from the mouths of Deep State actors on the major news networks and from , and you can also expect them to all prop up their exploitative globalist power establishment and advance its geopolitical agendas.
The intelligence agencies have always need to control information undefined and Hollywood is yet one more arm of the control mechanism aimed at pinpointing propaganda to push various agendas.
Again, there is more evidence to indicate that Hollywood has its own agents pulling the strings and pushing predictive programming.
I donundefinedt know if there was ever a time in my life where I have had the feeling of paranoia and dread about an upcoming movie. I mentioned that when I attended the film NOPE there was a preview for a Christopher Nolan Film called undefinedOppenheimer.undefined
The Oppenheimer film poster dropped last week In the which shows a silhouette of the scientist who led the group that constructed the atomic bomb. The man is engulfed in flames, foregrounded with the tagline, “The World Forever Changes.”
Oppenheimer led Los Alamos physicists in developing the atomic bomb — the bomb became the ultimate weapon that ended the Pacific theater of WWII, launched the United States into post-war power, and forever changed the global landscape.
The film is based on the Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer. The book’s title refers to the legend of Prometheus.
When Zeus discovered that the Titan god of fire provided these flames to humanity, the king of the Olympian gods had Prometheus captured and chained to a Caucasus Mountain promontory in punishment. An eagle — the emblem of Zeus — would eat his liver each day and each night; the organ would grow back to be consumed again the next day.
There was an articled published in the 1945 edition of scientific monthly where the discovery of the atomic bomb was the modern day Promethean fire : “Modern Prometheans have raided Mount Olympus again and have brought back for man the very thunderbolts of Zeus.” This heat that allowed humanity to thrive fanned blasts of fiery conflict, punctuated by nuclear bombs.
In a 1965 television broadcast, Oppenheimer said, “We knew the world would not be the same. A few people laughed, a few people cried. Most people were silent. I remembered the line from the Hindu scripture, the Bhagavad Gita; Vishnu (an avatar of Krishna) is trying to persuade the Prince that he should do his duty and, to impress him, takes on his multi-armed form and says, ‘Now I am become Death, the destroyer of worlds.’ I suppose we all thought that, one way or another.”
But for many of us bomb fearing cold war kids this is academic-we knew that of the bombs were used against us we would all eventually die from the fallout.
Hollywood feels that the time is right to educate us on how the bomb was made, who was behind it and while it is an amazing part of history the timing of such a film can not be overlooked.
We have witnessed as of late some very bold brinkmanship form both China and Russia and how they are cozy with nations like Iran who have recently achieved all of the Uranium for nuclear bomb making but they have assured the world that they have no intention of doing so.
Iran’s path to the bomb is of course of its own making, but it has been helped along the way by Biden’s stubborn refusal to make the compromises necessary to revive the 2015 nuclear deal.
It just seems that the reality of a nuclear exchange in our lifetime is highly likely and that Hollywood is ready to feed us the propaganda necessary to accept the bomb and nuclear war survival a possibility.
We are beginning to realize that psychological predators are now running Hollywood and this is not some satanic or Jewish conspiracy – it is a conspiracy of follow the leader –and peer pressure as Hollywood pretends that it is our critical parent.
It was recently revealed just how much the CIA and the FBI fact check news and information undefined but now it can also be revealed just how much the Pentagon loves to tell Hollywood how to filter itundefineds films to promote war and the encroachment of the military industrial project.
Politics right now is probably the closest we’ve come to a full-blown horror story as anything supernatural or paranormal in a long time. When the pain of human beings becomes a political tool, we face a double standard when it comes to morality and the horror can be found in some of the responses human beings give when predators begin to close in on their neighbors.
Well placed propaganda is being used as a tool for control and Hollywood is now more than ever answering to the Pentagon -in order to prepare the world for war and possibly a nuclear confrontation. The US Department of Defense does not just subtly influence Hollywood’s depiction of US wars to present them in a more favorable light. The Pentagon actively demands script oversight and dictates storylines. In practice, it has been waging a full-spectrum propaganda war against western audiences to soften them up to support aggressive, global militarism and war.
Many of my listeners would not be surprised to learn that the Pentagon has been the secret, guiding hand behind thousands of films and TV shows in recent decades.
Many more movies never reach the screen because the Defense Department’s entertainment liaison office refuses to cooperate, believing the wrong messages are being promoted.
Pentagon objections – usually the kiss of death – relate to any suggestion of military incompetence or war crimes, loss of control over nuclear weapons, influence by oil companies, illegal arms sales or drug trafficking, use of chemical or biological weapons, US promotion of coups overseas, or involvement in assassinations or torture.
Precisely everything the military has been known to do.
The Pentagon expects Hollywood to sanitize the war stories in favor of the actions of the military no matter how abhorrent.
How does the Defense Department exert so much control on film productions? Because expensive blockbusters are far more likely to recoup their budget and turn a profit if they feature the shiniest new weapons. Only the Pentagon can supply aircraft carriers, helicopters, fighter jets, pilots, submarines, armored personnel carriers, military extras and advisers. But it does so only if it is happy with the dramatic messaging.
Propaganda works most effectively when it can be passed off as entertainment- it is even more effective when it restructures attitudes about what may be a future event.
A movie about Oppenheimer could be precursor to a nuclear crisis.
There is where my paranoia lies.. and from what I have been reading it is not unfounded.
This summer, Hollywood released the long-awaited sequel to Top Gun, a Tom Cruise movie about ace air force pilots that came to define back in the 1980s how to sell war and make killing look sexy.
Top Gun’s makers got access to US navy aircraft carriers, a naval airbase and a host of F-14s and other jets. As the Washington Post reported: “It’s unlikely the [original] film could have gotten made without the Pentagon’s considerable support. A single F-14 Tomcat cost about $38 million.” The film’s entire budget was $15m.
The Original Top Gun film benefitted the military’s image. It stationed recruitment desks outside theaters to take advantage of that new credibility.
Top Gun was so successful in marketing war machismo that it was implicated in the Tailhook scandal a few years later, in which more than 80 servicewomen were sexually assaulted by fellow officers at a convention in Las Vegas. That scandal delayed the follow-up, Top Gun: Maverick, for 36 years. Nonetheless, the Pentagon’s conditions for approving the new film were even stricter.
The agreement explicitly stated that the Defense Department would be able to oversee the script, “weave in key talking points”, and censor scenes it did not like. The US military also demanded a veto over actors appearing in the film and an official screening before Maverick could be approved for release.
The Pentagon could punish any violations of the agreement by deleting footage involving its hardware, thereby killing the film. It could also deny “future support”, effectively killing the careers of Maverick’s filmmakers.
In the Book Theaters of War, it is stated that this is standard for US blockbusters, the films likely to have the most impact on popular culture and western perceptions of war.
The premise of one of the most popular franchises, Marvel’s Iron Man, was rewritten following Pentagon intervention. The main character, Tony Stark, played by Robert Downey Jr, was originally an outspoken opponent of the arms industries, reinventing his father’s empire so that Iron Man technology could stop wars.
But after Pentagon rewrites, Stark became the ultimate evangelist for the weapons industries: “Peace means having a bigger stick than the other guy.” In one early scene, he makes a fool of a young female reporter who criticizes his business empire – before bedding her to underscore that she is also a hypocrite.
The imaginary worlds of the Marvel universe, for example, offer a pristine showcase, demonstrating the need for the Pentagon’s shiniest weapons against implacable, other-worldly foes. Hollywood and the Pentagon can sweep aside real-world concerns, like the value of human life, the commercial motives behind wars, and the battlefield failures of military planners.
The challenge of superhuman enemies with superhuman powers has proved the perfect way to normalize extravagant, ballooning military expenditures.
The Day After was a 1983 Cold War film made for US TV over Defense Department objections. The Pentagon rejected the script after it depicted a nuclear exchange between the US and Russia following a series of misunderstandings.
the Defense Department demanded that Moscow be squarely blamed for starting the fictional war. Unusually, the filmmakers held their ground.
The Day After was watched by nearly half the US population. The president at the time, Ronald Reagan, recorded in his diary that the film had left him “greatly depressed”. It created political momentum that drove forward nuclear disarmament talks.
A single film that stepped outside the Pentagon’s simple-minded “US good guy” narrative generated a debate about whether the use of nuclear weapons could ever be justified.
The Day After was widely credited with slowing down the build-up of the two military superpowers’ nuclear arsenals. And it treated Russians not simply as a foe, but as people facing the same existential threat from the bomb as ordinary Americans. In a small way, The Day After made the world a safer place.
The Pentagon has such sway over Hollywood that it has even managed to turn around the anti-war message at the heart of a monster movie staple, Godzilla.
Back in the 1950s, it was an allegory about the horrors unleashed by the US dropping nuclear bombs on Japan at the end of the Second World War. But in the 2014 version, Defense Department meddling meant a reference to Hiroshima was excised and Cold War dynamics introduced instead: a lost Russian nuclear submarine triggers a confrontation with Godzilla.
Even more astonishingly, in both the 2014 and 2019 versions, the story is switched 180 degrees. Nuclear weapons become mankind’s salvation rather than a threat; the only possible way Godzilla can be destroyed. Nuclear proliferation sponsored by the Pentagon is no longer a problem. In Godzilla, it is integral to human survival.
You see how the attitudes have changed undefined and now with Oppenheimer Hollywood makes it a point to harden the resolve of the Warhawks.
The constant dehumanization of official enemies, and contempt for their concerns, makes it easier for the Pentagon to rationalize wars that are certain to lead to death and displacement – or to impose sanctions that wreak suffering on whole societies.
SHOW GUEST: JAY DYER
Jay Dyer is an author, comedian and TV presenter known for his deep analysis of Hollywood, geopolitics, and culture. His graduate work focused on psychological warfare and film and he is the author of three books, Esoteric Hollywood 1 & 2 and Meta Narratives: Essays on Philosophy and Symbolism. Heundefineds also the co-creator and co-host of the television show, Hollywood Decoded. He has been featured on numerous popular shows and podcasts and debates with some of the world’s top debaters.
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