All the world’s a stage
Part 3 in a "Not Sure" Series on The Movies, Politics and Predictive Programming - first published in June, 2023, accompanying Alan Watt Redux 115.
by Not Sure
25 June 2023
I could afford new tires if I had a dollar for every time I heard Alan Watt say (to roughly paraphrase him), “When they’ve finished using the U.S. military in the Middle East, the gun sights will be turned on the American people back home.” Time magazine writes this week that “…the risk is rising that Iran will soon become one of the world’s most dangerous wild cards.” We are told that for the first time since Syria’s devastating earthquake in February of this year, UN humanitarian aid is on its way to rebel-held territory. An AFP correspondent reported seeing “trucks covered with banners bearing the name and logo of the UN World Food Programme.” What unfolds in the region is still likely to require U.S. “boots on the ground,” but warfare is now asymmetrical, and “sights” may be figurative.
A documentary came to my attention last week entitled Theaters of War. The Pentagon funds Hollywood movies. Long-time Alan Watt listeners know this. Average movie-goers might wonder where films like Top Gun and Top Gun: Maverick get all the cool toys. What I learned from the documentary was how many thousands of movies (and television dramas, reality shows and game shows) receive Pentagon input and how many movies have been “shot down” because the script portrayed the military in an unfavorable light. But something was missing for me in the documentary that I couldn’t quite put a finger on. It felt too carefree, too mainstream. There was Oliver Stone, Hollywood’s authorized conspiracy theorist. I asked my friend Mark in Canada to watch the film so I would have someone with whom I could discuss it.
He shared my feeling that the documentary was okay, but so what? He did a bit of research on the director, Roger Stahl, and the film’s distributor, Media Education Foundation. Stahl is a professor of communications at the University of Georgia and has devoted a chunk of his career to researching the U.S. military’s ties to Hollywood. He has written a book entitled Militainment, Inc., and authored two other documentaries on the military-entertainment complex, including Returning Fire and Through the Crosshairs.
Media Education Foundation has been producing and distributing documentaries since 1991. Noam Chomsky is on their board of advisors, as is Naomi Klein whose film, No Logo, they distributed. Their mission statement reads, “Media Education Foundation produces and distributes documentary films and other educational resources to inspire critical thinking about the social, political, and cultural impact of American mass media.”
No earth-shattering reveals, just the feeling “I couldn’t quite put a finger on.” Mark asked, “Why now? Why make this film about the movie business and the Pentagon now?” He had just listened to an audio talk that Julie from Book of Ours put up on Wednesday, June 21 entitled “What Does The 92 Foot Venus Statue In Trinity Park In San Francisco Represent?” He suggested that I listen to ten minutes of the talk starting at about minute 45, but I ended up listening to the whole hour and two-minute episode and found it quite thought-provoking. My summarization won’t do the talk justice, but I will bullet-point a few highlights.
For a [great] reset, everything must be broken.
We are under intense attack, but most don’t realize it because they are sedated by the effects of trauma.
A 92-foot statue which is said to represent Venus was erected in San Francisco in 2017. She has exploded. She swirls. The goddess of love, beauty, sex, and fertility is a tornado.
San Francisco is positioned to become a different city. High-tech workers will live in skyscrapers with a view to Venus and they will program our new AI world.
Scattered reports from around the country of heightened military presence might be part of an operation that is more theatrical than anything else. The military has lost its relevance.
This reset is happening, we must prepare ourselves. We are living through the events Christians read about in the Book of Revelation. Fires are not in some distant future; they are now and we’re all in those testing fires. Extreme temperatures and pressure create diamonds.
What Does The 92 Foot Venus Statue In Trinity Park In San Francisco Represent?
That was just the listening break I needed to take. I returned to the keyboard with Hollywood and the Pentagon just tiny models hard to discern beneath the flames of my little booster rocket.
This Redux #115 is from a talk that Alan Watt gave on February 5, 2010 for Republic Broadcast Network entitled “No Alchemical Schism with Cap-Com-Ism.” This is the poem that he wrote to accompany the talk:
No Alchemical Schism with Cap-Com-Ism:
“Countries Demolished through Internal Subversion,
Programming of Children with Communist Immersion,
Fabian Envelope was Pushed, a Little at a Time,
As We Drift through Years into New Paradigm,
We the People, Bred Up and Then Culled Down,
Depending on Agenda of Elites’ Golden Crown,
Third Way is the Wedding of Rothschild and Marx,
Now the End of Nations Creates No Sparks,
Cultural Changes from Top, Nothing’s Incidental,
We Adapt En Mass, Technique Incremental”
© Alan Watt Feb. 5, 2010
Alan talked about a series of talks that Yuri Bezmenov gave on ideological subversion. He said, “If you think for a minute that you haven’t already gone through all these stages into a form of world system… Remember, communism was to be a world system. You’ve missed it all. You’ve lived through it and you didn’t know it. Part of it was to totally degrade all society on the way down. You do that by attacking all the things that keep society together as a cohesive unit for survival purposes. What keeps people together? What are they willing to fight for? It goes all the way down to the family unit. Break up the family unit, promote incredible promiscuity – they will not bond – and then the state has everyone under their thumb. They can talk directly down to you. Yes, YOU… YOU… YOU… just you. NO one else is going to stand up for you. That’s what they showed you in George Orwell’s 1984.”
I have no idea what political leanings documentary director Roger Stahl has, but in January 2023, while promoting his new film, Theaters of War, he did an interview with the World Socialist Web Site, wsws.org. The interviewer asked Stahl how and when the military got involved with films. Stahl replied, “It goes all the way back to films like The Birth of a Nation. The army assisted the film, which gave them some leverage over the story. This was the early model for what became a massive public relations operation. By 1927, the US military was advertising its air power with the World War I film Wings, which exaggerated its role in the air conflict. It supplied an enormous amount of military equipment from multiple bases—more than 3,000 infantrymen, hundreds of planes. There were lots of accidents and injuries. To give you a sense of the level of military commitment, a cadet died in one of the many staged plane crashes, and the Army ruled that he was killed in the line of duty. Absurd but true. The film went on to win the first ever Academy Award, so it paid off in terms of military publicity.”
Stahl tells the WSWS journalist that he drew inspiration and information from David Robb’s 2004 book, Operation Hollywood: How the Pentagon Shapes and Censors the Movies, which he called a “true work of investigative journalism.” What most surprised Stahl about the Pentagon’s involvement with the entertainment industry was how many different types of productions they were involved in. They have input in sporting events, parades, social media, cooking shows, cake baking competitions and home decorating shows.
Hollywood gave us Outbreak, Contagion, World War Z, I Am Legend, et cetera, et cetera. Do you remember a military tank or two in those films? Movies get the Pentagon stamp of approval and lots of shiny toys for the producers and directors to play with. We’ve been lapping up predictive programming for decades. Quarantine sounded reasonable. It’s what they do in the movies. It’s future warfare and the gun sights have been turned on us.
In researching censorship of movies, I learned about the Motion Picture Association of America, now the Motion Picture Association. You’ll see their logo on most U.S. films and now that they’ve dropped “America” from their name and updated their branding to reflect the global nature of the film, television and streaming business, you’re sure to see that logo on many films made across the world. What became obvious to me after a few days of researching this “trade” and “lobby” association, is that the creation of Hollywood was from its inception to be the major source of programming our reality. There could not be a political reality, an entertainment reality and a civic reality. The last three CEOs are members of the Council on Foreign Relations.
As Alan said in this talk, “The matrix is an interesting concept because basically it’s where everything comes from, if you like. Your whole reality with all of its sources that GIVES you and reinforces that reality. It updates you all the time, in reality, and keeps you absolutely ignorant of the fact that your opinions are given to you. They are giving you opinions all the time to suit the particular month or the year in which the big boys are manipulating events. We simply adapt. We are very good at adapting into anything really.”
Alan: You’ve missed it all. YOU’VE LIVED THROUGH IT AND YOU DIDN’T KNOW IT.
Alan read a lot of papers that various branches of military from the U.S., Canada and Great Britain published, and he was most interested in the white papers that discussed future scenarios. One that he often cited can be found in the Article section of the Cutting Through website. It’s from the U.K.’s Ministry of Defence entitled “The DCDC Global Strategic Trends Programme 2007-2036” and published in 2007. They clearly foresaw that Twitter would take off when they wrote about “confrontational and intrusive journalism, ‘the Industrialization of Gossip’… The basis of ‘truth’ will be heavily subjective, and the media will be vulnerable to hijacking and distortion by pressure groups and fashionable ideas. This will be defined by what is believed rather than by objective analysis and scrutiny. The expansion of commercial and unofficial, web-based applications will challenge the primacy of traditional corporate tele-visual and print based formats.”
DCDC Global Strategic Trends Programme 2007-2036
Alan posted “The Army Vision: Strategic Advantage in a Complex World.” Published in 2015, it looks ahead to 2025 and beyond. They predicted that by 2030, 60% of the world’s population would live in cities. Their army of 2025 must be “allied” and “multinational,” with a technological architecture that would allow other military services, U.S. government agencies and “allied partners” to easily “plug and play.”
A paper published circa 2014 is “Megacities and the United States Army: Preparing for a Complex and Uncertain Future.” At the time of publication, there were twenty megacities around the world, and they predicted forty by 2024. A megacity has a population of ten million or more. According to CityPopulation.de, there are currently 45 megacities. In what the U.S. Army claimed was the first study of its kind, they ask the question, “Why would the American city go into an urban warfare situation?” Their short answer is that to ignore the megacity is to ignore the future.
Back to “The DCDC Global Strategic Trend Programme 2007-2036” from the U.K.’s MoD, where they posit a future scenario: Mega-City Failure. A large city in a developing region (or a number of large cities in more than one region) may fail before 2035. The effects will be equivalent in character, if not in scale, to state failure, which city failure may, in turn, precipitate. Based on recent experience, the military stabilization of a major city would demand a comprehensive Inter-Agency approach, specialist skills, and an enduring [does that mean never-ending military occupation?] operational commitment.”
Several times over the years, Alan Watt mentioned “Constant Conflict,” an article that Ralph Peters wrote in 1997 for Parameters, the U.S. Army War College Quarterly. Peters is now a retired U.S. Army lieutenant colonel. When he wrote “Constant Conflict,” he was assigned to the Office of the Deputy Chief of Staff for Intelligence, where he was responsible for future warfare. I’ve read this article in the past, but I read it again today and this time I was struck by the quality of the writing. Peters tells you about the world we live in and what the future will look like; he writes with the confidence of one who is “in the know.” I looked up his bio today. He has published ten non-fiction books and more than two dozen fiction books, including spy novels. When the army gives someone the responsibility of future warfare, I guess they want someone with a good imagination.
He writes about the perception of the West (the U.S. in particular) that is exported to the rest of the world in its films and television shows, that cause reactions of fear, envy, and disgust. “If decadent America (as seen on the screen) is so fabulously rich, it can only be because America has looted one’s own impoverished group or country or region.”
Peters was “in the know,” but I wonder what knowledge was above his pay grade. He writes admiringly of American culture. Does he know that it was always a construct? A plywood film set.
He writes, “It is fashionable among world intellectual elites to decry “American culture,” with our domestic critics among the loudest in complaint. But traditional intellectual elites are of shrinking relevance, replaced by cognitive-practical elites--figures such as Bill Gates, Steven Spielberg, Madonna, [insert Elon Musk and Taylor Swift here] or our most successful politicians--human beings who can recognize or create popular appetites, recreating themselves as necessary [Donald Trump]. Contemporary American culture is the most powerful in history, and the most destructive of competitor cultures. While some other cultures, such as those of East Asia, appear strong enough to survive the onslaught by adaptive behaviors, most are not. The genius, the secret weapon, of American culture is the essence that the elites despise: ours is the first genuine people’s culture. [Haha! But what a cleverly realistic film set.] It stresses comfort and convenience--ease--and it generates pleasure for the masses. We are Karl Marx’s dream, and his nightmare.
Here comes the “constant conflict” part of Peters’ narrative. “There will be no peace. At any given moment for the rest of our lifetimes, there will be multiple conflicts in mutating forms around the globe. Violent conflict will dominate the headlines, but cultural and economic struggles will be steadier and ultimately more decisive. The de facto role of the US armed forces will be to keep the world safe for our economy and open to our cultural assault. To those ends, we will do a fair amount of killing… We are building an information-based military to do that killing. There will still be plenty of muscle power required, but much of our military art will consist in knowing more about the enemy than he knows about himself, manipulating data for effectiveness and efficiency, and denying similar advantages to our opponents. This will involve a good bit of technology, but the relevant systems will not be the budget vampires, such as manned bombers and attack submarines, that we continue to buy through inertia, emotional attachment, and the lobbying power of the defense industry. Our most important technologies will be those that support soldiers and Marines on the ground, that facilitate command decisions, and that enable us to kill accurately and survive amid clutter (such as multidimensional urban battlefields). The only imaginable use for most of our submarine fleet will be to strip out the weapons, dock them tight, and turn the boats into low-income housing. There will be no justification for billion-dollar bombers at all.”
***
Katherine Watt is a wife and mother, a traditional Catholic (Latin Mass) and has worked as a paralegal. Since early 2020, she has been researching and writing on Covid-19 issues. She has done exhaustive research to show the legal architecture that was built to all the governing powers of the U.S. to be transferred to the Health and Human Services Secretary in the event of a public health emergency, which happened in late January 2020. She writes, “In other words: Congress and US Presidents legalized and funded the overthrow of the U.S. Constitution, the U.S. government and the American people, through a massive domestic bioterrorism program relabeled as a public health program, conducted by the HHS Secretary on behalf of the World Health Organization and its financial backers.”
American Domestic Bioterrorism Program – Katherine Watt (2022)
Here’s another prediction from the DCDC Global Strategic Trends Programme. “By 2035, an implantable information chip could be developed and wired directly to the user’s brain. Information and entertainment choices would be accessible through cognition and might include synthetic sensory perception beamed direct to the user’s senses. Wider related ICT developments might include the invention of synthetic telepathy, including mind-to-mind or telepathic dialogue. This type of development would have obvious military and security, as well as control, legal and ethical, implications.”
This Whitney Webb article from 2021 has been posted on the Cutting Through websites at least twice since its publication, but it is well worth returning to:
A “Leap” toward Humanity’s Destruction
Webb ties together DARPA, the U.K.’s Wellcome Trust, and their program Wellcome Leap. The Trust chose Regina Dugan to lead this new enterprise which will use the latest medical technologies and Artificial Intelligence (AI), including brain-mapping tech for children three years and younger, in what is essentially a transhumanist program; as Webb describes it, “Merging Man and Machine for the Military and Silicon Valley.”
We know that the “m” in mRNA stands for messenger and we have learned that mRNA is what “excites” the creators of CRISPR technology; it’s the less talked about little sister to DNA. This is what one of those CRISPR creators had to say about it:
“DNA is the famous sibling. It’s the one that gets on the magazine covers. And we talk about the DNA of an organization, of a society. But like a lot of famous siblings, DNA doesn’t do a whole lot of work. It just sits there in the nucleus of our cell guarding our genetic information. The real work is done by RNA. The RNA goes in there, takes copies of a particular gene that might be needed and then goes to that region of the cell where you make proteins. And it’s the RNA that oversees the making of the protein. And that work of taking the code from in our cell’s nucleus from the DNA and going to make protein, that’s called the messenger work of RNA. And that’s why these little snippets are called messenger RNAs. And when everybody was trying to race to study the human genome and do the sequencing of DNA, there were some scientists who said, let’s look at this more interesting molecule, which, by the way, turns out to be able to replicate itself. And so - lo and behold, it’s the beginning of all life on this planet. So RNA turns out to be far more interesting than its brother, DNA.”
CRISPR Scientist’s Biography Explores Ethics Of Rewriting The Code Of Life
What we’re looking at with the “vaccine” bioweapons is MODIFIED mRNA, so a substance that is “the beginning of all life on this planet” has been modified to do who knows what. I hear and read regular reports of deaths and illness, the rapid onset of heart disease and “turbo cancers.”
Vaccines at the Movies
How have vaccines been depicted and promoted in films and television shows? I wondered if anyone out there had compiled a list of those depictions and sure enough, here’s a Substack article entitled “Vaccines at the Movies.”
Written by someone who is a “believer” and clearly enamored of the technology, it’s a comprehensive listing, but he did miss one that immediately came to my mind. Richard Matheson’s 1954 novel, I Am Legend, was first made into a movie (The Last Man on Earth) in 1964, starring Vincent Price, as a scientist who failed to create a vaccine for the plague in time to save his family and indeed, the earth’s population; nearly all were zombified. The novel was made into the 1971 film starring Charlton Heston, The Omega Man, and finally the 2007 movie starring Will Smith, I Am Legend. The novel was said to have inspired the 1968 low-budget “classic,” Night of the Living Dead.
Standing Armies
Why are wars referred to as theaters (or theatres) of war? When was this term created? Have military men always thought of themselves as swaggering across the world stage? Alexander the Great just the Lawrence Olivier of his day? In Vom Kriege (On War), written after the Napoleonic Wars, the Prussian general, Carl von Clausewitz, writes what is said to be one of the most important military-political-strategy analyses ever written. He calls the area where wars are fought, Kriegstheater, from the older Latin theatrum belli. Researching that Latin term, I found a paper published by Cambridge University Press in 2009, “Theatrum Belli: Late-Restoration Comedy and the Rise of the Standing Army.” This theatrical survey discovered that nearly every play written and performed on the London stages in the first decade of the eighteenth century had references to a Redcoat or a Tar and somehow worked in a debate about the issue of a standing army, suggesting “a widespread ideological effort by writers to enlist public sympathy not only for the soldier but also for the notion of a standing army.”
As Alan always pointed out, the use of the arts for what we now call social engineering is an ancient form of warfare, and so in one sense, the gun sights have always been turned on us. It’s just that now we see the “theatre” operating on the stage of our minds, our bodies, our souls. We are in the “Operation” now where we’re supposed to become overwhelmed and collapse, disappear into our fears and addictions, die from their bioweapons. After 9/11, “the hardest thing will be to hang onto your sanity.” – Alan Watt.
In all ages, in all lands, there have been those who seek truth. This seeking is an individual’s search for something more than self, and much more than the confines of this worldly system. It is the seeker, who understands there is more than what meets the eye, who is not afraid and makes the choice to go into the unknown. The process of awaking has begun, the discovery is underway. – Alan Watt
“Hang in there…but don’t hang yourselves.” Or as Alan might have said, “Be not afraid, little chipmunk. There’s more to this world than meets the eye.”
© Not Sure
Additional reading/viewing:
Roger Stahl discusses Theaters of War: How the Pentagon and CIA Took Hollywood with WSWS
What Does The 92 Foot Venus Statue In Trinity Park In San Francisco Represent?
Ex-CBC journalist told NCI network pushed pandemic propaganda
Army’s Vaccine Plan: Inject Troops With Gas-Propelled, Electro-Charged DNA (2010)
Army spies to take on antivax militants (2010)
NHS told to be ready to give coronavirus vaccine from December - with Army help (2020)
Army called in to help make sure businesses following covid rules (2020)
Unconventional warfare training being staged in 21 North Carolina counties, Army says (2019)
Megacities and the United States Army
The Army Vision - Strategic Advantage in a Complex World
Unblinking surveillance stare: Army’s 7-story flying football field-sized blimp (2012)
Army Embeds PSYOPS Soldiers At Local TV Stations
Katy Perry ‘too raunchy’ for Sesame Street
Constant Conflict - U.S. Army - 1997
Sasha Latypova Interviews Katherine Watt on U.S. Military Domestic Bioterrorism
American Domestic Bioterrorism Program - Katherine Watt, 2022
U.S. Army - Stability Operations (2008)
Beautifully written! ...and what do you know, the world is filled with funny coincidences:
"The 92-foot-tall stainless steel sculpture "Venus," inspired by the Venus de Milo, is located in the Piazza Angelo at Trinity Place, situated at 33 Eighth Street in San Francisco's Mid-Market neighborhood. This privately owned public space is part of the Trinity Place apartment complex, which is bounded by Market Street and Mission Street."