A pawn toppling the King

Atlantic Article on Hollywood Misses Powerful Points About CIA Control
By - July 15, 2016

How the CIA Hoodwinked Hollywood Since its inception, the agency has wooed filmmakers, producers, and actors in order to present a rosy portrait of its operations to the American public. –Atlantic

This is a good article by the Atlantic, a neo-con publication that aspires to be a “thought publication.”

This article rehearses the history of the CIA in Hollywood and, in fact, is fairly comprehensive and touches on a number of compelling points.


The CIA has a long history of “spooking the news,” dating back to its earliest days when the legendary spymaster Allen Dulles and his top staff drank and dined regularly with the press elite of New York and Washington, and the agency boasted hundreds of U.S. and foreign journalists as paid and unpaid assets.

In 1977, after this systematic media manipulation was publicly exposed by congressional investigations, the CIA created an Office of Public Affairs that was tasked with guiding press coverage of intelligence matters in a more transparent fashion.

The agency insists that it no longer maintains a stable of friendly American journalists, and that its efforts to influence the press are much more above board. But, in truth, the intelligence empire’s efforts to manufacture the truth and mold public opinion are more vast and varied than ever before. One of its foremost assets? Hollywood.

This is an honest appraisal so far as it goes. As is the article’s conclusion:

With few exceptions, Hollywood has long functioned as a propaganda factory, churning out jingoistic revenge-fantasy films in which American audiences are allowed to exorcise their post-9/11 demons by watching the satisfying slaughter of countless onscreen jihadis.

This never-ending parade of square-jawed secret agents and bearded, pumped-up commandos pitted against swarthy Muslim madmen straight out of central casting has been aided and abetted by a newly emboldened CIA all too happy to offer its “services” to Hollywood.

The article, thousands of words long, still managed to miss some important points, however.

It doesn’t provide us with much in the way of a frame of reference. The control that the CIA exercises over Hollywood is multiplied many times by the control the CIA exercises over the communications industry generally.

At the top of the CIA, executives are responsive to the City of London. Intelligences agencies were manufactured by banking families initially.

Only later on, were their functions laid off onto governments. Now the cash flow comes from tax dollars, but the agencies themselves are still controlled out of the City.

This goes for other countries as well, including Israel, which was created by the City, which still runs it.


It is probably not too much of an exaggeration to say that its spooks run both Facebook and Google – especially given that the CIA invested in both companies when they were just beginning.

Basically, the Atlantic article makes it sound as if the CIA’s control over Hollywood is evolutionary and even voluntary. This is to misstate the way the CIA works.

Surreptitious intel operations have doubtless been in charge of Hollywood since its inception. If anyone doubts that, simply take a look at the movies Hollywood produced in the 1930s and especially in the 1940s.

These days, Hollywood movies have staked their main franchise on superhero movies.

These superheroes fly high in the sky fighting “bad guys” and determining whether or not the world will be safe and function properly.

They are above the law and gratitude is always due to them for their exploits.

The resemblance to the coming implementation of technocracy is undeniable.

In the world, as it is to be, technocrats running vast corporations will make decisions affecting millions. In fact, they already do.

Conclusion: This sort of organization and its privileges will not seem unusual to those regarding them. The parallels to today’s movies will already have desensitized people to what is occurring. This is the fundamental paradigm of modern Hollywood, the basic assertion of control.

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