For years, the goal was always to break down societal norms, the old norms, to divorce an entire generation, if not two generations, of kids from traditional value systems, their family and the church and their community.

If you reject a religion, you're going to go out and find another one.  Of course, if you reject Christianity, Islam, or Judaism, or whatever, the next one that was on offer to you was always the state.  --Tom Luongo

With the exception of communist infiltration into 1950s Hollywood, the inner workings of the studios and their executives have pretty much been off my radar until someone raised the point that the filmmaking producers of Hollywood itself are placements of Operation Mockingbird, and that it's been that way since the 1940s.  That totally makes sense.  So it's not just CIA placements as news editors at your local or big city newspaper.  But the political reach of Hollywood goes far beyond studio walls or halls.

Podcast Episode #129 - Mel K and the Real Crime of Hollywood - Gold Goats 'n Guns https://t.co/isVSetvhXY via @TFL1728

— An Avenging Angel (@aveng_angel) February 6, 2023

Thanks to the great Tom Luongo and his episode titled, "Episode #129: Mel K and the Real Crime of Hollywood," January 28, 20

The 2002 Vanity Fair that Kim references, titled "Ovitz Agonistes," is about how Ovitz was muscled out by competing studio executives.

Mel K says that the CIA and Operation Mockingbird created Hollywood, that it was created for behavior modification, behavior controlled, subliminal messaging, and the people at the top are very aware that they control society through movies and TV.  

Mid-to-late 90s, Michael Ovitz created the biggest agency, CAA, was interviewed in Vanity Fair.  It was an article where he said that the gay mafia had taken over Hollywood.  And he got eviscerated.  And from that point on, the guys who still run CAA, which I believe is one of the key players in what's happened here.  That was the time when GLAD [GLBTQ Legal Advocates & Defenders], Black Lives Matter, which was something else at the time, there are real Satanists, straight-up Satanists, they come from Anton LeVay, anyone can look him up.  They worship Aleister Crowley and happen to work in LA in the movie and music business.  There are witches' covens with big celebrity actresses that you all know.  It is a place of mind manipulation, but the people that are there are the most easily manipulated because the way that they set it up is if you make it, then you become a product.  And it's very quick. And once you become a product, you have handlers, you have 10 people, and your salary depends on them, and their salary depends on you.  It was weird.  I live in West Hollywood, and there was a whole street of executives that were lesbians.  I mean high level, who were openly talking about this at the same time.  Some of these people were involved in the SnyderVerse controversy and other things.  Nefariously involved in strange parties, strange stuff going on.  What I feel like happened was the covert, evil, and Satanism, anti-Americanism, color revolutionary type things that were under the surface in Hollywood frim the beginning around 2003 started to sprout wings.  It was covert.  It became overt, and thet built the new CAA I call the Death Star. And Hollywood was now a tool, an operator in a Wag the Dog.  They hijacked the #MeToo movement, and turned that into Time's Up.  And that was run by operatives, not by victims, color revolution piece our of Hollywood.  It just became an operation.   

10:25 LUONGO. Yeah, I've heard this, and Chinese money coming into Hollywood as well.  It's always been there.  Dexter and I say all the time, "Commintern never ended." It just kept going even though they said it ended. They just set it on autopilot for Christ sakes.  At a certain point it doesn't even have to be intentional.  For years, the goal was always to break down societal norms, the old norms, to divorce an entire generation, if not two generations, of kids from traditional value systems, their family and the church and their community.  It's not necessarily about church per se.  If you reject a religion, you're going to go out and find another one.  Of course, if you reject Christianity, Islam, or Judaism, or whatever, the next one that was on offer to you was always the state.  Let's take away the one that sustains your local community and lets roll your allegiance up to a larger thing.  This is why we always get this rotten nonsense about "sacrificing for the greater good," I can do a 45-minute rant about Star Trek, knowing full well that Roddenberry was a CIA asset [and a Mason] and that that show should have never made it past its first year.  But then it somehow made it to three seasons. For what reasons?  Ah, . . . because we all know why it had to survive.  It had to go into syndication for at least 3 seasons.  In those days, for people who don't know, a television show had to go at least 3 seasons for it to generally make its money back before it went into syndication.  It couldn't be sold into syndication with anything less than a certain number if episodes, and it was usually three seasons of episodes.  And so this is how Star Trek survived, and then you know, cheap programming, then they resurrect it, and then they give ys the real story, which is extra crispy, Next Generation. The original recipe and extra crispy.  You can see the technocratic socialism of Star Trek versus the kind of anarchic Star Wars.  There's a real, honest-to-God difference here.  There was George Lucas, and these guys were outsiders, they were outside of the Hollywood system.  They all smoked and drank and did all of the drugs that you could possibly imagine, but they did it up in San Francisco away from Hollywood.  In the early days of American Zoetrope, all of that is really fascinating because they literally positioned themselves as the anti-Hollywood. And then there's the guy, Spielberg, who walked the line between the two of them, and kind of fucked everything up if you want to know. 

13:20 MEL K. Yeah, with other filmmakers, I've been trying to talk about propaganda and it's very strange.  Even Spielberg is a very weird character to me.  There's multiple things about his personal life and accusations that I don't care to get into but I believe there's something bad there.  Whatever the case may be, I don't know what your thoughts are on predictive programming in movies.

13:45 LUONGO. Depends.  Somethings, yes; somethings, no. 

13:50 MEL K. If you look it up on Wikipedia, it's a conspiracy theory that's not true.  But it is very bizarre.  We know about Kubrick and his relationship with NASA and all this.  But all these guys had all this.  But it's very interesting.  I was looking at transhumanism, predictive programming, and other things that happen over time.  My take on predictive programming is that a lot of these guys they know . . . .  And don't forget, DARPA has a lot to do with the entertainment business, especially in video games.  So when I look back and studying transhumanism, I . . . predictive programming.  Was it predictive programming, or am I looking at it now and saying that? 

But when you and I talked about the World Economic Forum, the Fourth Industrial Revolution, Noah Harare and what he's saying alone, and then you look at the movies AI, 2001, Ready Player One, The Minority Report, 2001, and you think these are all Spielberg. All three of these movies and then came Transcendence, 2014, that's exactly what they're talking about.  And when you think Spielberg back in 2001, The Minority Report and AI Artificial Intelligence; 2004, The Terminal, and 2011, The Adventures of Tintin,  is writing and making movies about right now, they're implementing.  And it's very shocking to me.  AI is the weirdest movie, and Kubrick wrote it. 

15:15 LUONGO Kubrick was clearly trying to warn us about these people from the moment he started making films.  I rewatched The Shining, 1980, (based on Stephen King's 1977 novel of the same name) the other day and thought, "Holy Christ, it's the first anti-Davos movie."  The seduction of Jack Torrance in The Shining was purely 'we're going to seduce him with sex, absolve him of alcohol, of being part of the in-club, absolving him of his child abuse, and all of the weird sex, the guy in the bear suit, and all these discordant images of their depravity are all right there.  The OverLook Hotel was the destination for all the best people, a phrase that some film critics on YouTube have picked up about Kubrick. It's everywhere in his films, right? And then you go into Eyes Wide Shut, 1999, and the end of his life, snd you know, and that screams for Warner Bros.  Kubrick made all of his movies after Dr. Strangelove, 1964, in the dark.  With Warner Bros., he had an ironclad contract, he got to make his movies, and he just delivered them.  The only guy in Hollywood . . . Hollywood? . . . of course, he was in England away from Hollywood making these films with only 7 people on set.  Kubrick was his guy, he was just doing his thing and deliver the final cut to the studio.  And as long as it made money, they left him alone.  But he crossed the line with Eyes Wide Shut.  They screened it in New York, four days later he was dead.  The movie gets re-cut, and then put out four months later.  

17:00 MEL K. Yeah, it gets re-cut with 40 minutes cut out. Crazy story.  It must have been crazy and intense on that set. Like you said, he's on a very tight set. He'd come in and Kidman and Tom Cruise were having problems in real life, but they're in that.  They're dealing with all the Rothschild stuff.  Cruise did an interview shortly after Kubrick died. Where she says there are secret societies, that they're all a bunch of pedophiles.  And she said in the interview, "This is what he told me." And you brought up the Shining, too, I believe that he was warning everyone.  

17:48 LUONGO Now, Spielberg, you bring up Spielberg, and I was in both Minority Reports, my wife saying they want more Minority Reports but with more Germans. You know I'm also a huge Philip K. Dick fan, and I actually like Spielberg's interpretation if Minority Report.  When you really stop and think about all this stuff, how many of Philip K. Dick's stories, which are absolutely humanist stories, all of them are humanist stories.  It's all about sin and salvation and redemption.  They may be post-modern in their conception, and they may be self-aware text in that respect.  He used a lot of postmodernist tropes as do some of my other favorite writers, and I can identify them all, but did so with the purpose of telling very human stories.  In effect, guys like Philip K. Dick, Grant Morrison, Borges, and others, are like the anti-Sartre.  They're the anti- Umberto Eco and all those French and Italian Marxist assholes. It's interesting if you think about it, who has had more work translated into bad movies than Philip K. Dick.  No one. Why?  Because you need to subvert all of the real warnings he was putting out for everybody but only here and there do good movies get made about his work, or even better, faithful adaptations of his work, like Richard Linklater's A Scanner Darkly, 2006.  Is that a movie that Hollywood put any money behind?  No.  He had to self-finance the fucking movie, right? And even though he had Robert Downey, Jr. And Keanu Reeves and Winona Ryder, it could have easily been properly marketed, could have easily made money on it and they chose not to.  And the movie took 3 years to complete because you couldn't get the rotoscoping because you couldn't get the money to finish the movie.  

19:50. MEL K. Right.  That's the price you pay if you're a real artist.  The way that it works out there . . . I worked for an A-List, A-List, A-List actress.  She was a product. She was miserable.  Her life was awful.  She was treated terribly.  She was a slave and yet she put in the nice clothes, walked the red carpet, and her movies opened with big bucks but her life was terrible.  And some of these people say it's not worth it, that they could do their own thing, like Linklater, and others, and their lives are much better for it because they realized early in their career that if they give up a little control, the beast will take it all and then blackmail them. 

20:28 LUONGO When you think about Spielberg and his relationship with transhumanists and the Fourth Industrial Revolution movies, you have to think, if Kubrik writes AI, and goes out of his way, because that's the story, listen to interviews of Jan Harlan and Kubrik, with an IQ of 240, always got an angle on everything, why would he go out and grab Steven Spielberg to make AI if not to . . . I can almost make the argument that Kubrick was dangling this forbidden fruit in front of Spielberg who couldn't say no to it in order to kind of tweak Spielberg.  Nobody ever accused Stanley of this in public, but, oh, this makes a lot of sense.  By that point, Spielberg was already compromised.  His inherent boomer-ness was already compromised.  His best work was already behind him, you know, Raiders of the Lost Ark, Jaws . . . .  Really, Schindler's List was behind him at that point.  He was done.  He got his Oscar.  He got his self-aggrandizement trophy from the Amish that run the thing out there . . . . And so that's that.  They can't help themselves; they have to give themselves trophies.  That's the way this thing works.  [Did not know of the documentary The Making of the Shining.]  

22:00 MEL K. It's such a mind-control thing.  It's all about us. All thise award shows are about "you gotta go see this."  

22:07 LUONGO. I came to the conclusion, Mel, they've gotta pick the starlet de jour to give the Oscar to even if she wasn't too good.  She was going to be the ho of the next 5 years and we were going to market her, here's your role, we're going to give you the Oscar, it's all going to work out.  Don't worry about it. It's already in the bag.  Don't worry about it.  So Halle Berry, Charlize Theron, I'm not saying they didn't do good work in the films that they won for, but it's very clear that this is the way it's supposed to work and that there aren't any surprises in this stuff.  

22:45. MEL K. You brought up Bond, too. Daniel Craig's movie, To Kill Bond, to take away that man. You brought up Klaus Schwab and the WEF, and a lot of people didn't like the Quantum movie, [Quantum of Solace, 2008] but that movie is about the World Economic Forum.

23:09 LUONGO. Absolutely it is.  Quantum of Solace, and Paul Hagiss is another one of those screenwriters who is like . . . no one fucks with Paul Hagiss.  That guy writes whatever the fuck he wants.

23:23 MEL K He runs his sets.  He runs his sets like a prison.

23:27 LUONGO. It's fascinating. So, the Quantum of Solace was destroyed because of the writers' strike.  They didn't have time to finish the script properly as a sequel to Casino Royale, 2006.  But I do look at all 5 of those James Bond movies as two things going on in that story. One is letting everybody know, yep, her comes the World Economic Forum.  And it's interesting, I was thinking about this arc the other day, you give us Quantum, he undercovers Quantum, doesn't actually destroy Quantum, just one of the dudes in it in that movie. And then in the third movie, we ignore all of that and just get to a revenge plot.  Skyfall, 2012, is a fine movie on its own, but it's a revenge plot against M., which is just dumb but it introduces the idea that MI6 is an institution at the end of the British Empire is here.  Oh, by the way, you're not going to get Brexit, FYI.  and then you go to the 4th movie, Spectre, 2015, where all of a sudden it's not Quantum anymore, it's Blofeld and it's awful.

Blofeld is Klaus Schwab, right?