The Protocols of the Learned Elders of Zion – whose uncritically accepted status as a hoax is discussed in Chapter 18 of Truth Is a Lonely Warrior – declared: “In order that the masses may not guess what they are about we further distract them with amusements, games, pastimes, passions, peoples palaces. Soon we shall begin through the press to propose competitions in art, in sport of all kinds.” (Protocol 13:3)
The Protocols were first published publicly in 1903. After that, technological strides made movies and television major means of “distraction.” More than this, they became instruments of political indoctrination and social change sought by the Illuminati to advance their New World Order.
A few years ago, I told a friend that I enjoyed watching Turner Classic Movies, because older films possessed morality missing in today’s cinema. “Well,” he cautioned me, “even back then, Hollywood was pushing the envelope.”
He was right, of course. Hollywood has always been a step to the left of the culture. Filmmakers were usually too cagy to thrust something shocking on the public. Instead, they nudged the culture, one step at a time, away from its traditional Christian worldview.
The idiom for this is “boiling a frog.” It’s said that to boil a frog, you can’t just toss him in boiling water – he’ll jump out. Instead, you put him in lukewarm water, and gradually turn up the heat. That way, the frog never realizes he’s been boiled. The Illuminati have consistently applied this principle in building their New World Order – for example, introducing income tax at a benign 1 percent in 1913, then progressively increasing it to today’s double-digit brackets.
TV perfectly exemplifies “boiling the frog.” The 1950s saw what was called “the Golden Age of Television.” Every program was a family show. By design, there was no sex, gore, or foul language. If there had been, hardly anyone would have purchased a TV back then. So early programs were loaded with traditional values. Someone would say, “Hey, Joe, I just bought a TV and it’s great! My children are learning the importance of honesty, patriotism, and obeying parents!” His friend would respond, “Gee, if that’s what TV’s like, I’m buying one for my kids too!” Then, about 1963, television approached saturation – over 90 percent of American homes had one. Programming then began to change. That year, Leave It to Beaver and Dobie Gillis were cancelled. Like the boiled frog, content was gradually modified year-by-year until now you’ve got sex, gross violence, bizarre occult horror, foul language, “politically correct” propaganda. The frogs (me included) didn’t know they were being incrementally boiled.
While year-to-year contrasts are subtle, comparing today’s standards to decades ago exposes the degree of overall change. Many R-rated films of the 1960s, such as The Good, the Bad and the Ugly, are so tame by today’s standards they would now be PG-13 or even PG.
What have these changing standards targeted? America’s morals were rooted in the Bible, especially the Ten Commandments. In older films, violations of these commandments – murder, adultery, theft, lying – were portrayed negatively. Characters indulging in such conduct were never allowed to “get away with it,” to discourage viewers from emulating them. (Alfred Hitchcock had a clever way of circumventing this on his television program. Often the entire drama depicted the lead character succeeding in crime, but in Hitch’s postscript, he would say something like, “Eventually Mr. Smythe was apprehended by the police, paid his debt to society, and all that sort of rot.”)
We’ve come a long way down since. Many of today’s movies openly celebrate evil, and depict it as incurring no consequences. A few years ago, USA Network even ran a promotional ad which read: “Guaranteed to break more Commandments than any other lineup.” Even the third commandment – against taking God’s name in vain – is being blitzed, as “Oh my God” has become the signature exclamation for TV reality shows like Keeping Up with the Karshadians.
The satanic nature of the changes is corroborated by the attacks extending, beyond morals, to direct assaults on Christianity itself. Since theology is generally perceived as boring, and stories revolve around characters, most of the attacks have been against Christian people, portraying them countless times as stupid, mean, bigoted, hypocritical, mentally unstable, money-grubbing, etc. But even the Gospel account itself has been subjected to ridicule and revisionism (The Life of Brian, The Last Temptation of Christ, The Da Vinci Code). Although pro-Christian films still get a few rare screenings, gone are the days of Ben Hur and The Robe.
The Password is Quality
One strategy the Illuminati have employed is “quality sells.”Anatomy of a Murder (1959) was an involving courtroom drama that featured superb performances by the venerable James Stewart and then-up-and-coming George C. Scott. About a rape case, it was also the first film to use the words “bitch,” “contraceptive,” “penetration” and “sperm.” Director Otto Preminger, who utilized this tactic in several films, knew that once he passed the censors, a precedent would be irrevocably set.
In the Pawnbroker (1965), Rod Steiger gave what may have been the performance of his life, as a hardened Holocaust survivor with no compassion for his fellow man. The film was also the first to show naked female breasts. Once again, quality rowed the boat past the gatekeepers, and there was no turning back.
In the 1990s, my wife and I were impressed by two new television shows: Law and Order and ER. We were surprised to see scripting and acting at a level unprecedented for TV – that infamous medium of “mindless entertainment.” Although doctor and police dramas had always been popular genres, these two series were of exceptional quality. And, followed by a rash of spinoffs and imitations, they ushered in an era where viewers are being saturated with positive images of law enforcement and medicine. In retrospect, it is evident that the Illuminati, who control Hollywood, wanted the public conditioned to accept the new surveillance police state, and the medical apparatus through which Big Pharma exerts population control.
The Illuminati have long used honors – such as Nobel and Pulitzer prizes – to reward and dignify people serving their agenda. When Barack Obama received the Nobel Peace Prize after one year in office, American entrepreneurs expressed their estimation of the Prize’s worth:
Before discussing the Oscars, I digress. About 20 years ago I wrote a screenplay. It was optioned twice, but never produced. My goal was to create a film that would include a scene where Christian faith was defended. Knowing that any preachiness would sour an audience, I worked the scene into what was otherwise an action-mystery story, in which a vicious cult kidnapped a young minister. The “defense of faith” scene was a well-intentioned “joker” hidden in my deck of cards, but was actually the screenplay’s main purpose.
It occurs to me that the Illuminati have employed this same technique to indoctrinate the public. Did you ever wonder why It’s a Wonderful Life didn’t win the best-film Oscar for 1946? The honor instead went to The Best Years of Our Lives. While the latter had an impressive performance by disabled war veteran Harold Russell, I believe the secret of the film’s Oscar success was this political joker in its deck.
How Green Was My Valley earned Best Picture of 1941, and while many Christians cherish it, it contained its own little jokers, such as the two-minute scene that begins around 36:20 of the movie, in which a mean-spirited, bigoted clergyman – who has a permanent scowl etched on his ugly face – condemns unions and socialism, which he denounces as the work of “the devil.” The film’s protagonist – the town’s young, handsome, broad-minded new minister – disagrees, as he puffs on his pipe, personifying wisdom.
When I was a teenager in the 1960s, my father and I noticed that a local TV station was promoting its upcoming broadcast of the 1947 Best Picture Oscar winner, Gentleman’s Agreement. We watched with great anticipation, since to us, “best picture” carried a promise of noteworthy entertainment. However, the film – which concerns a magazine writer who pretends to be Jewish so he can experience anti-Semitism first-hand – was a complete yawner. Not even the great director Elia Kazan, nor actor Gregory Peck, could pump air into this flat tire, with its lifeless, preachy screenplay. My father and I, not being politically informed then, were naively mystified as to why the award was accorded to such a lemon.
With an informed retrospect, the solution is evident. There was no joker in this deck; the whole movie was the joker. The public was being prepped to accept an important event. Less than two months after Agreement won the Oscar, the state of Israel was proclaimed, accompanied by simultaneous recognition from Harry Truman – who then received his own surprise “Oscar”: reelection that November, in history’s greatest Presidential election upset.
While a number of Oscars of the classic era rewarded political correctness, some did not – films like All About Eve, On the Waterfront, and Marty won on talent and poignant messages. But in recent years, the Academy’s bias toward “agenda” films has become much more dominant.
For 1991, The Silence of the Lambs won an impressive Oscar sweep: best picture, actor and actress. Although I’d already been forewarned about the film by Ted Baehr’s Christian-outlook Movieguide, my wife and I began watching when it aired on television. After about an hour, I told my wife: “I’m turning in. This is nothing but a gore movie – they’ve just dignified it by using some name actors.” My wife insisted on finishing the film, convinced that the Oscar honors meant the movie would eventually have redeeming moments. It didn’t.
The next morning, my wife told me she hadn’t been able to sleep all night – not because of the film’s ghoulish violence, but because of what its Oscar wins said about the state of American culture. William Guy Carr, one of the pioneering analysts of the Illuminati, wrote in Pawns in the Game that “the general public, and particularly the children, have been systematically hardened to accept the sight of violence and bloody death as normal.” He wrote that in 1955. In 1991 The Silence of the Lambs simply took public acclimatization to violence to a new level, certified by the Oscars’ stamp of approval.
For the following year, 1992, the Oscar went to Clint Eastwood’s Unforgiven, despite its mediocre, predictable script. Since Eastwood had made superior Westerns long before that, such as The Outlaw Josey Wales, why was he suddenly knighted by Oscar? To me, the answer was obvious. Eastwood had shed the conservatism that stigmatized him as a “Neanderthal” in Hollywood. Unforgiven was brimming with political correctness: cowboys in the saddle discussing animal rights and masturbation; women’s rights, of course, were at the story’s core; the film was loaded with profanities that Eastwood’s earlier Westerns hadn’t found necessary; and even the title was an inversion of Christianity’s message.
During the Oscar ceremonies for 1993, I watched Bruce Springsteen perform “Streets of Philadelphia.” It was – to me, at least – a very unremarkable melody. When it was subsequently handed the “Best Song” Oscar, I was perplexed – until later that night, when I learned that the film Philadelphia was a gay-rights vehicle.
It was becoming clear that Oscars were no longer rewarding artistry or talent; they were doled out for purely sociopolitical reasons. Of course, I am not saying that the films’ quality was necessarily poor; as noted, the Illuminati know “quality sells,” so they pay top dollar to have their agenda packaged attractively. But the reason for Oscar selections is increasingly disconnected from talent.
For 1993, one of the last times I bothered watching, the “battle” for best picture came down to Zionism (Schindler’s List) versus sodomy (Philadelphia). For those uninitiated to the Illuminati agenda, Zionism’s goal is enthronement of the Antichrist in Jerusalem; and the Illuminati support the gay movement, not because they sympathize with gays, but so they can exploit reclassification of homosexuality as a “civil right” to try to suppress Bible-based churches on the pretext of “civil rights violations.” For 1993, Zionism carried the day with “Best Picture,” but the Oscars would increasingly promote the gay lifestyle. Ellen Degeneres, of course, was the most recent Oscar hostess.
Dividing up the Agenda
Hollywood has served many specific planks of the Illuminati platform. War has been at the forefront of these.
In May 2001, Disney’s Touchstones Pictures released Pearl Harbor starring Ben Affleck. It was a flag-waving war movie – not a genre Touchstone was known for. Eight months earlier, the Project for a New American Century had issued its notorious paper “Rebuilding America’s Defenses,” which called for an increased U.S. military presence overseas, especially the Middle East, but warned: “The process of transformation . . . is likely to be a long one, absent some catastrophic and catalyzing event – like a new Pearl Harbor.” Less than four months after Touchstone’s release, 9/11 provided them with their “new Pearl Harbor.”
Such cinematic timing wasn’t new. In August 1939 British audiences saw release of The Four Feathers, the lavish classic about a soldier who overcomes his cowardice to fight in war. Within a month, Britain declared war on Germany. In September 1941, ten weeks before Pearl Harbor, Americans saw a parallel epic: Sergeant York, the true story of an American who initially resisted enlisting for World War I, but ended up a hero.
Even long after the Civil War and Reconstruction, lingering resentment of the South toward the federal government made it expedient that reconciliation occur, so that Southerners could be persuaded to enlist and fight alongside “Yankees” in foreign wars. It may or may not be coincidence that the two films which made Southerners feel vindicated – Birth of a Nation (1915) and Gone with the Wind (1939) – were both released soon after world war had broken out on the European continent, but before America had joined those conflicts. Both movies broke box-office records.
Darwinism – an Illuminati-financed attempt to discredit God and the Bible – got a big push from Inherit the Wind, a Hollywood rendering of the 1925 Scopes “Monkey” Trial. In the film, enlightened evolutionists battle imbecile Christians. The film set records for inaccuracy, from depicting John Scopes as a jailed martyr (violating Tennesee’s Butler Act was not an imprisonable offense) to showing William Jennings Bryan denouncing science during the trial (whereas he actually praised it). In Chapter 17 of Tornado in a Junkyard, I systematically compare the film script to the trial transcript, and they are often diametrically opposite. Jurassic Park used the “quality sells” formula to plug Darwinist arguments (the turning of a herd of dinosaurs in unison “proved” they evolved from birds, but the film didn’t mention that herds of mammals and schools of fish are seen doing the same thing). Even family staple The Waltons had an episode (“The Fire”) in which a young girl’s evil backwoods father burns the schoolhouse for teaching evolution. Et tu, John-Boy?
Big Pharma got a classic Hollywood boost when Law and Order SVU aired an episode in 2009 called “Selfish,” in which a young mom is prosecuted for murder because she didn’t have her child vaccinated for measles (that’s what was “selfish”), resulting in the measles death of another child. For maximum effect, the mother of the dead victim was played by teen idol Hilary Duff (Lizzie McGuire).
There is no component of the Illuminati agenda which lacks Hollywood’s dramatic support. As this clip demonstrates, recent movies have flaunted Illuminati symbols (all-seeing eye, Masonic pyramid, 9-11 before it happened). This informative Infowars clip amplifies further, showing how satanic symbolism is used in Superbowl halftime shows and other entertainment venues.
And in case you’re wondering why they still allow Turner Classic Movies to showcase old-time films, reread the Protocols quote at the top. The Illuminati want to keep people of all tastes distracted, and that includes us “old geezers.”