The Celtic Rebel

Based on my research into the purpose/utility of mass-market movies, I have come to the conclusion that members of secret societies have infiltrated the medium at many levels, and use it (the medium) to push their social engineering agenda . Also, that they do so in a manner similar to the way they use other major events of note (think false-flag events and crises), which is, for multiple purposes and via multiple means.

Before I enumerate them, I would very much like to give credit to Michael Tsarion, whose body of research has greatly inspired me, Michael Hoffmann, for his theories on the psychology behind the psychology, and Alan Watt for his insightfulness and common-sense philosophy.

I would also like to point out, that I am, for the most part, talking about mainstream movies which are written, directed and released with the intent of catering to a mass audience and going on to become “block-busters.” [I can't help but now wonder, if that term is supposed to carry the double entendre of a head/mind destructor.] Although I can’t say it with complete certainty, I feel that independent movies and foreign art-films would normally be exempt.

Additionally, I would like preemptively address those readers whose own sense of skepticism or paranoia may soon lead them to ask, “They can’t ALL be in on it?” The answer is no. Like any operation of espionage or infiltration, all it takes is few key people in a few key places. The rest are just your standard groups: useful idiots (“mindless repeaters”), culturally bankrupt and brainwashed dolts who would do anything for a fame & fortune, legions of Zionist crusaders who are afraid to question the morality of their dogma (because they don’t realize that Judaism and Zionism are two entirely separate entities), and lastly, the most useless people on the West Coast, the soul-less mind-controlled zombies which we call Scientologists. {*1}

So, without further adieu (or inflammatory opinions), I present my theory on the six facets of movies as a tool of social engineering:

1. As a superficial means to sell products. Placement, placement, placement. Product placement. One can’t help but notice dozens of periphery products placed throughout the sets, if not right in front of your face. However, far more invasive, is the psychology of consumerism that is sold subliminally by the vehicle (the movie). Watch the joy in the women’s faces, as they strut around with their bags of freshly purchased goods. See the sex appeal of the male lead with the brand new car. Does he get the girl? Of course he gets the girl.

HBO is notorious for producing shows which serve as nothing more than repeating minimal plot elements, staged around the marketing of products and ideas. Sex and the City comes to mind as a prime example. Sitting through Entourage, on the other hand, forces one to wonder, whether your are watching a show which advertises a wide array of products, or an 25 minute advertisement with some plot elements thrown in. {*2} The show serves as a superficial showcase of clothing, cars, music, and conspicuous consumerism to the extreme. They’ve even gone so far as to dedicate the plot of two entire episodes to the cast trying to procure a particular brand of limited-edition high-priced shoes!

2. The real sales pitch. As Michael Hoffman illustrates, the real sales pitch comes after the audience lets their guard down. They assume the pesky advertisements are over, and they are now being “entertained,” not marketed to. These are the most insidious and perception-altering forms of social engineering.

A recent instance of such programming is the depiction of torture. Notice how it is becoming more and more prevalent and common in television and movies these days. It is conditioning. Conditioning the public to become more accepting of it. The last James Bond film is an example conditioning along these lines and more (see prior blog, three paragraphs down). Each successive Quentin Tarantino film, has depicted torture more graphically and overtly than the prior. Without this flood of PR, do you think it would even be possible for us in the USA to even be having the present “debate” on whether it’s acceptable or necessary?

Another example is the conditioning the uninformed masses to have perceptions of certain groups of people (i.e., negative ones), in order to facilitate “selling” a certain idea later: painting Arabs with a negative broad stroke to sell the Iraq invasions (both of them), instilling the public with fear that Middle-Eastern terrorists are out to get us, in order to sell them the idea that some far-off Arab boogeyman brought down the World Trade Center, or constantly depicting Arabs as suicidal psychopaths, in order to keep public pressure off of Israel’s policies of apartheid, economic strangulation, and methodical genocide towards the people of Palestine. This racist theme has also been examined in a prior blog (includes video).

Ideas and themes, distributed effectively through multiple media outlets (television, movies, magazines, music, fashion), can be used to “program” entire generations. Read Edward Bernaise on how easy it is to control the public mind, in lieu of the individual mind. Not one of the following “social movements,” was by any means, accidental: the 60’s drug culture, the sexual liberation of the 70’s, the rise of feminism and the current extreme degradation our youth. {*3}

In some cases, powerful special interest groups, can simply use the medium to finance their own cause. All they need are a lot of money and a few connections. Consider the movie Swordfish. A bank robber pulls of a grand heist of an American bank, kills (and in a rather horrific manner) all the hostages, and gets away with it. The movie’s closing scene (him speeding off into the sunset on a luxury yacht) tells the audience that “it’s OK” because he is a former Mossad agent and will now use that money to go after Palestinian “terrorists.” Thus, the “message” sold to the gullible American public: killing a few Americans is fine, as long it ultimately benefits Israel. {*4}

3. The ritual act of revealing. This is probably the most controversial of angles, and for some of you, likely to be seen as the most speculative. However, there is an occult aspect to the practice of human sacrifice, that per Michael Tsarion’s teachings, and my own independent studies, requires that one inform their victim specifically what they will do to them before they do it. There seems to be an obligation by the practitioner of the black arts, to tell their victim.

The other perspective on this idea, is that the more terror you create in your victim, the more power you gain, or something to that effect (I have never been involved in such practices, so can only draw conclusions) . Members of Satanic cults, and the necromancers from civilizations past (Mayans, Aztecs, etc.) would allege that if you are going to tear the heart out of your victim and bite into it before their very eyes, then in order gain their “power/vitality” from the act, you have to tell them ahead of time (and be specific).

A modern-day example of this ritual revelation occurs in the film Independence Day, which came out in 1996. In one of the scenes, Jeff Goldblum’s character, announces he has figured out that the alien signal is a count-down to attack. He then drives from New York City to Washington DC to inform the President (despite both cities being evacuated at the time, and the impossibility of making that drive in four hours, even under ideal conditions). As they escape on Air Force One, Goldblum looks at his laptop (to read the count-down clock), and the display reads “09:11:01.” Voilla!

Hence, even though the message is near-subliminal, the practitioners of the black arts have fulfilled their sacrificial obligation to inform us (their victims, those killed on that day, and the rest of us who were traumatized by the event, be it emotionally, financially, or mentally). An article by Jack Valentini, discusses this particular scene, along with other 911 prescient examples from other films. The pilot of episode of The Lone Gunmen, on the other hand, bypassed the realm of the abstract and sublime, opting to brazenly and explicitly advise that day’s victims of events to come.

4. As a disinformation vehicle and/or as a whitewash tool. What a better way to discredit legitimate “conspiracy researchers” or “awake individuals” than to downplay actual misdeeds through a whitewash process, or disinform the public in preparation for a future truth encounter. Give them just enough information so that they are aware of the process, but not enough to comprehend its true significance.

An excellent illustration of this concept, comes from the The Good Shepherd. The movie introduces people to the idea of Skull & Bones as a powerful organization, without disclosing just how far its reach truly goes. It shows the initiation ritual of one lying naked and revealing a personal secret, yet obfuscates the homo-erotic masturbation, ejaculation and sexual nature of the confession. And, it doesn’t even touch on the use of real skulls, altars to horned gods, the use of blood and other occult rituals, much less the society’s long-standing connection to drug trafficking. Instead, the movie even goes so ludicrously far (into the realm of misinformation), as to depict the members as old-time barbershop-quartet singing, silly-natured fraternity boys.

The end result of this calculated campaign is that we (the audience) gain information, which embeds itself into our memory. Over time, the origins of this “knowledge” are forgotten. Thus should we later be confronted by someone in possession of “real” information on the topic, we are resistant. Pride and ego take over. “Oh, I know all about Skull & Bones,” we will argue. Yet, we won’t know or recall where that information we “know” came from, because we, vainly, will consider it part of our personal body of knowledge.

Michael Moore’s films would fall under the category of “white-washing.” They tend to scratch the surface of a particular problem, and shout loudly about the dirt they’ve now found under their fingernails. But, they completely ignore the real incriminating evidence that lies underneath. I could give examples from Sicko, Fahrenheit 911 and Bowling for Columbine, but for the sake of brevity, will save that for a later blog.

5. As a means of internal communication between those in the know. This is akin to flashing gang signs. Some stealthy symbolic act or scene will be shown, in order to alleviate the concerns of “insiders” that any information “revealed” was either accidental, the disclosure efforts of some rebellious insider, or “snuck-in” by some truth-activist writer or director.

The best representation of this concept that comes to mind, is again from The Good Shepherd. {*5} In the scene, the CIA Agent meets his KGB nemesis in a safe public location, the Metropolitan Museum of Art. The KGB Agent’s bodyguard complains that the museum won’t accept Rubles as currency, and since this is his only time in America, he would really like to buy something for his daughter. Hence, he asks the CIA guy for a dollar. Yes, a one dollar bill. The CIA guy hands him the bill, thumb pointing to the Illuminati Pyramid/Eye symbol and the camera zooms in on the symbol and freezes.

What costs one dollar, especially something one would want to take back for their daughter after their ONLY trip to America? Why not five, ten or twenty dollars? Simply because the dollar bill is the only denomination with the symbol on it. Again, plot and logic were not required. What was required is that they let concerned insiders know: “Don’t worry, we’re not going to unveil anything important about the CIA or the Russell Trust (a.k.a. Skull & Bones). We are on top of this. We are in control of the information flow. This is propaganda for those profane sheep we master.”

6. Lastly, there is the actual dissemination of arcane knowledge. This is the issue I am presently struggling over the most, because I can’t say with great certainty, why it takes place. A part of me believes, and maybe, I should say “would like to believe,” that there are factions out there, who do wish to enlighten those of us who are seeking truth, and subliminally lift the veil of ignorance from the eyes of the masses. But, my present leaning, inclines me to believes there is hubris in the ruling class, thus they feel the need to boast of their accomplishments.

A good example of secrets being revealed, takes place in the Matrix series, which as much as any other movie, perhaps with the exception of the Bond films, includes all the elements I’ve been discussing. {*6} When the Neo character meets the ruling god in the white room, behind the metaphorical door, he does not meet the “creator” of the matrix, aka the Lord God of Christian, Muslim and Jewish faith. No, he meets the “Architect.” Read up on the Masons, and you will learn they worship the Architect, not the Creator. There it is. In your face [if you're one of the less than one percent of the population that has bothered to research this stuff, and can also make the connections]. They are boasting and telling you outright. Yes, it’s us, but what can you do about it? Nothing! {*7}

Another good illustration comes from Oliver Stone’s seminal conspiracy film JFK. The film was credited with renewing public interest in the assasination, creating a push to release sealed Warren Commission findings and leading to the creation of the Assasination Records Review Board. While the film does manage to completely discredit the Magic Bullet Theory and dispel the notion of Oswald as a shooter, wouldn’t even a minimal amount of research convince anybody of these same facts? Does Stone tell us who killed JFK? Well, not directly…

There is a scene where Jim Garrison meets “Mr. X” (allegedly Colonel Fletcher Proudy) on the Capitol Mall. Proudy tells him to look past the mire of bit-players like Oswald, the Mafia and the Cubans, and ask the most important question. “Why was Kennedy killed? Who benefited? Who has the power to cover it up?” During this scene, the camera is initially zoomed in tightly on their mouths and ears, and slowly pans out, until Proudy speaks the last of the above words. On the screen, Proudy & Garrison are now insignificant to the Washington Monument, towering ominously over them. There you have it. Ask yourself who erected the obelisk, and you’ve answered the question. Alan Watt provides an excellent anyalysis of the scene and the motives behind the murder in the following clip, which includes said scene. There’s also an excellent supporting article, showing all the Masonic elements of the assassination.

Occasionally, there will be an act of true revelation, but I find this to be a rarity. Insiders know that you can hint at certain elements, but if you cut to close to the bone of truth, then there will be the devil to pay, and I’m starting to believe the late Stanley Kubrick learned this first-hand.

So, when you do find true revealing, it tends to be parlayed in symbols and metaphors, or so subtly expressed, that only the trained eye of a truly aware individual might catch it. A good recent example is the sacrifice scene in Apocalypto. {*8} Watch the faces of the elites (the priestly and ruling classes) during the entire sequence. See the disdain they express towards the masses below. See the boredom and ennui they have towards the whole process, particularly when the solar eclipse is coming (because they know it was coming). The movie is showing us, that we are the ignorant masses, we are part of the idiot class down below, reacting with expected shock and bliss, guzzling our beer and cheering our team, dancing like clowns, frightened by the unknown (be it a solar eclipse or an imaginary terrorist); all so easy to control and manipulate.

The recent film V for Vendetta, on the other hand, was hailed by many as a previously unparalleled anti-establishment exemplar about our present move towards a police state. The forthright depictions of tyrannical rule, mass media as a tool of propaganda, false flag operations blamed on terrorists and secret government experimentation on citizenry do all ring true and are frighteningly similar to exactly what is happening in present society (for those unfamilar with the movie, this short clip makes many of the connections).

However, the most important thing to consider, is what does the film which I will confess to personally enjoying) say about changing things? The same old true, tired Hollywood motif that has been ingrained on us since we were children: wait for some Superman to come save you, wait for Rambo, wait for “The One.” It doesn’t tell us anything about how we, as individuals and communities, need to network, and overthrow the system of oppression by refusing to feed the corporate entities, which ultimately, take the money we give them to buy up our government, and then build a bigger better prison to enslave us. Thus, after all is said and done, I fear the movie serves the proverbial beast.

As I prepare this article for press, I’ll flip through the movie channels and inevitably stumble on more instances, yet my stance on this last issue grows more muddled. I catch the tail-end of National Treasure, and there is the “young dumb cool guy” character, looking at the discovered Egyptian statue, and not-so haphazardly saying, “Cool! He’s big with blue-green skin. That’s probably significant.” {*9} And, I find myself wondering, “Could this be boasting? Yet,how many people out there would actually even get the relevance of the statement?” Maybe, they figure, if you’ve come this far (just like the plot of the movie), then they may as well give you another “hint.”

While I feel that there is no natural ending to this discussion, I will conclude by stressing that I feel this body of research, is one that has been greatly under-investigated. There are a myriad of films out there which need to be looked at for these elements, and even a small team of researchers, could spend their entire lives looking at different films and still miss a lot of relevant acts (and facts). My ambition is that other inspired individuals will do their part, and that we, as a group, can bring all this hidden subterfuge to light.

And lastly, express my hope that you, as an individual, stop thinking of these movies as entertainment and escapism, because the moment you do, the real propaganda and mind-control begins. Look beyond the tired repeating contrived plot elements and look at the undercurrent of social engineering taking place. Be as a child, and look at everything with new eyes and be an adult, and think critically of all you see.

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*1: An expose of the mind-control tactics of Scientology would require a whole book. This free online resource is a good start. Suffice to say, their founder was a pedophile, he was involved in government mind control projects, his book Dianetics probably came out of how he learned to control his wife “Diane,” and the group’s visible efforts against psychology, and support of the FMF, are aimed at destroying any hope of salvation that mind-control victims may have. [LB]

*2: Sorry, I can’t help but make the analogy of these HBO series as “advertising pornography.” Who cares what the plot is, as long as it moves you from one product (sex scene) to the next. [LB]

*3: Each of these topics is well-worth researching, but outside the scope of this article. The one point I’d like to make, is one addressed to those whose “conditioned” response is that the over-sexualization of today’s youth is simply an ongoing evolutionary trend. Read your history. Compare the 20’s to the 50’s. Compare the Renaissance to the Victorian age. If it was really “ongoing,” wouldn’t we all be rutting in the streets by now? [LB]

*4: Ask the survivors of the attack on the USS Liberty if they thought it was OK that a few Americans sailors died so that Israel could gain a little more territory? Israel also has a dismal, or notoriously efficient record [depending on perspective, I guess] of using false-flag operations to further it’s own agenda. The Hollywood film Raid on Entebe, was apparently yet another propaganda piece. [LB]

*5: I’ve used another Good Shepherd reference because one, I recently viewed it, and two, it is overtly appropriate to the theme of this article. I’ll refrain from speculating on whether the choice of Angelina Jolie for the female lead was significant, but some may find this prior blog about her amusing. [LB]

*6: The Bond films tend to be full of revelations. Michael Tsarion has spoken at length about hidden elements in the films and the relevance of “007? in occult history. Joseph Farrell, in his book, The SS Brotherhood of the Bell, discusses how the film Diamonds are Forever discloses the existence of two space programs: one, a hoax for public consumption and the other, the hidden and classified real program. [LB]

*7: For those interested in learning more about Gnostic Christianity and the origins of such concepts and symbols, I’d highly recommend Graham Hancock’s Talisman (though I have to point out that I disagree with his conclusion about who was behind the 9/11 attacks, yet completely agree with the exposition of the symbolic nature of the targets). [LB]

*8: Many people ask my opinion on Mel Gibson; whether he is an agent of disinformation or an agent of change, trying to reveal the truth to people. His movies do tend to have a lot of embedded information. Conspiracy Theory (very apropo), does refer to a lot of real projects like MK-Ultra, brings up the interesting supposition that Oliver Stone is a controlled asset in the employee of Poppy Bush (hmm?), yet mixes up important details with preposterous suppositions (e.g., using the Space Shuttle to cause Earthquakes to kill the president). I had been leaning towards disinfo, but knowing about the anti-globalist views of his father, am still unable to make up my mind. [LB]

*9: I’ll leave the relevance of that statement for you to investigate. A hint? Look at the Hindu Pantheon. Read up on the old Vedic texts. [LB]