From ... in Brainwashing Psychology — Mar 16, 2024

Priming, predictive programming and Hollywood

Throughout history, images and stories have played a crucial role in obtaining long-term control or influence over societies and cultures.

The enchanting and captivating qualities of storytelling and mythmaking through fables, poetry and drama have proven to be a successful method of shaping public opinion for centuries.

In Ancient Greece, Plato recognised the same thing when he observed the charming abilities and alchemical-like powers of poets and rhetoricians over the hearts and minds of Greek citizens. These same storytellers and “image-makers” existed in Persia, Babylon and countless other empires.

With the advent of Hollywood and the silver screen, this alchemical tradition of poets and priesthoods took on new magical dimensions.

Let’s not lose touch…Your Government and Big Tech are actively trying to censor the information reported by The Exposé to serve their own needs. Subscribe now to make sure you receive the latest uncensored news in your inbox…

The following is an abridged version of the article ‘Hollywood, Predictive Programming and You: Are We Living in a Science Fiction Movie?’ by David Gosselin originally published by the Canadian Patriot. David Gosselin is a poet, researcher and translator in Montreal, Canada. He is the editor-in-chief of The Chained Muse.

Pulling Back the Curtain

Recent revelations about the art world and the entertainment industrial complex’s connection with intelligence agencies have sparked interest in the secrets behind the Hollywood curtain.

In modern storytelling, new images are like shadows cast on the cave walls of the “silver screen.” These industries and their related online streaming services boast of many “good movies” with compelling storylines, dialogue, plots and character development – many of them essentially respecting the formal rules of Aristotle’s classic Poetics. But the impact of films on the collective imagination is a less talked about subject. Different films have presented various messages with varying degrees of subtlety.

Further reading: Allowing the Poets into the Republic: Revisiting Plato’s War Against Public Opinion, David Gosselin, 27 November 2023

One clever, covert hypnotic technique involved in these forms of fiction is “priming.” People can be primed by watching others live out experiences, such as in movies, which allows them to dissociate from their own lives and immerse themselves in new narratives. This has led to a vast priming industry that offers various scenarios and dystopian futures for people to play out. But everyone knows it’s only fiction.

For example, in the latest ‘Mission Impossible: Dead Reckoning I’, a rogue artificial intelligence (“AI”) entity assumes control over the world. It uses human beings as its avatars to play out various games and scenarios. No one is sure who or what is real, and multiple possibilities exist, but everyone is convinced that they must play the game, essentially deferring the question of greater reality to “the Entity.”

Sound strangely familiar?

Amidst the mass confusion, a recurring theme and incantation appears in the film: Nothing is real. Reality is impossible to discern; audiences must defer their reasoning powers to the all-knowing AI entity.

Here we see modern hypnotic techniques at play which allow a message or command to sink into the subconscious mind. The technique works by creating what world-leading hypnotist and neuro-linguistic programming (“NLP”) co-creator Richard Bandler calls a state of “gentle confusion.”

By flooding the conscious mind with details in a confusing but artful manner, the conscious mind is overwhelmed, such that the subconscious mind is now opened and ready to receive new “information.” In other words, a clear message is embedded and communicated through a nest of confusing statements.

Bandler refers to this as “stacking realities,” which often involves telling a story within a story, within a story, within a story. The speaker or narrative may suggest one thing, but then mean another, or something completely contrary.

The speaker may be talking about one thing, but then saying another. Which details belong to which story remains unclear on a conscious level, but with the proper “nesting” and “sequencing,” listeners are left with a set of instructions which they can naturally carry out on an unconscious level.

Bandler was a student of anthropologist and sociologist of CIA MK-Ultra notoriety, Gregory Bateson.

Aside from conducting experiments on shell-shock and trauma victims with LSD for the CIA’s MK-Ultra programs at the Menlo Park VA Hospital, Bateson also taught at the University of California in Santa Cruz where he encouraged Bandler to take on a hypnosis project and develop hypnosis into a complete and formalised system. With the collaboration of John Grinder who also taught Bandler at Santa Cruz, the result was the creation of NLP, whose insights have been thoroughly adapted and integrated into modern public messaging, entertainment, and the “self-help” world across the West.

Not surprisingly, the same techniques in hypnosis and narrative structure, which appear in some interesting ways in Mission Impossible, have an uncanny and strange resemblance to today’s discourse on the role of AI shaping in shaping decision-making for the entire human race.

Consider a recent discussion when World Economic Forum guru Yuval Hariri warned that the general public should prepare for the looming AI takeover.

Is mankind’s future now going to be directed by an AI? Is this a movie, reality, or simply the latest example of predictive programming by the magicians behind many of the most popular “science-fiction” stories?

Fictional stories can be used to prime audiences or induce altered states. But what happens when we ask the same audiences to imagine a healthier, alternate future?

And here is where the “magic” of films becomes perhaps clearer.

It’s Only Fiction

Chief among the genres shaping 20^th century Hollywood “cave paintings” has been the world of so-called science-fiction. A new genre of magical images was created by practitioners several of whom had ties with military intelligence and related agencies.

Take the example of H.G. Wells, the father of modern science fiction. Wells happened to be one of the most outspoken minds for world government, population control and global eugenics programmes in the early 20^th century.

Wells also happened to be one of the leading minds within Fabian Socialist circles and Britain’s elite literary intelligentsia, including Lord Bertrand Russell, Bernard Shaw, D.H. Lawrence and many popular writers. All were committed to global eugenics, world government and the establishment of a modern Liberal imperial order, or as Wells once called it, a new “liberal fascisti.”

From War of the Worlds and The Time Machine to The Island of Dr. Moreau and The World Set Free, Wells would continuously anticipate and re-imagine the future of humankind.

Underlying both his fiction and non-fiction was the idea of the need for a human race under the tight control of a scientific priesthood, which would preside over a new world religion of eugenics and the global government responsible for selectively breeding humans. Sometimes, the breeding would result in disaster, as in The Island of Dr. Moreau; sometimes the inventions in his “fictional” works would lead to near-extinction and pave the way to global governance, as in The World Set Free; but at every turn, Wells was priming the imagination and offering a new world outlook under the guise of “fiction.”

Stranger in a Stranger and Stranger Land

Most of the popular and catalytic science fiction stories since the time of Wells originated from the same small tribe of not-so-veiled luciferians. Take the case of Frank Herbert, L. Ron Hubbard and Robert Heinlein.

As explored in a New Republic article titled ‘Charles Manson’s Science Fiction Roots: How L. Ron Hubbard and Robert Heinlein Influenced a Murderous Cult’, their works would lead to all sorts of historical truth is stranger than fiction events.

Heinlein wrote the science fiction novel ‘Stranger in a Strange Land’ (1961) and Hubbard wrote the self-help guide ‘Dianetics: The Modern Science of Mental Health’ (1950).

Stranger in a Strange Land tells the story of a Mars-born messiah who preaches a doctrine of free love, leading to the creation of a religion whose followers are bound together by ritualistic water-sharing and intensive empathy. Dianetics would later serve as the basis of Hubbard’s religion, Scientology.

Herbert, Heinlein and Hubbard all wrote for the same pioneering science fiction publication, Astounding Science-Fiction. The magazine was overseen by editor John Campbell, author of the science fiction novella ‘Who Goes There?’ Campbell’s novella was famously adapted as the screenplay for ‘The Thing’ which tells the story of a shape-shifting killer alien which can mimic and imitate any other human or life form, leading to mass paranoia and death among humans trapped in an arctic research base.

But what was the goal of all these writers? As the author of The New Republic, the article explains:

In truth, the hidden thematic concern of “hard science fiction” was always mystical transcendence, of imagining how the promise of religion could be fulfilled by technology in the space age. Time and again, Campbell’s writers, not just Heinlein and Hubbard but also Frank Herbert of Dune fame, conjured up technological paths to transcendence.

The article goes on to recount the peculiar ways in which the illiterate lifetime criminal, Charles Manson, who couldn’t help finding himself back in prison no matter what he did, magically managed to create a new kind of family, infamously dubbed “The Family.”

This could still all be pure coincidence, but Heinlein himself also enjoyed creating and curating his own free-love sex cult:

Heinlein was in an open marriage with Leslyn, a poet and script editor. He had a habit of encouraging his close male buddies to take Leslyn as a lover. As Hubbard would later marvel, Heinlein “almost forced me to sleep with his wife.” Sharing his wife’s body was a form of male bonding for Heinlein, and it served as a precursor to the communal orgies that he imagined in Stranger in a Strange Land, which helped the members of his imaginary religion form group solidarity.

Hubbard and Heinlein also shared an interest in the supernatural. Together with their friend Jack Parson, a rocket scientist, they investigated the teachings of the occultist Aleister Crowley and tried their hand at black magic.

Not unlike Heinlein or Manson, Hubbard also had a thing for creating his own cult following. As revealed by his son, Hubbard himself believed he was the literal reincarnation of lucifer. The science of Dianetics, which formed the basis for a Hollywood-controlling cult known as Scientology, was the original “self-help” guide, supposedly offering man the means to attain his fully self-actualised self.

Whether it meant doing all your own movie stunts like a fully self-actualised would-be black-ops agent like Tom Cruise, creating your own new religion to unlock the hidden “human potential” of high-performing individuals like Hubbard himself, or painting with fake baby blood and writing out spirit cooking recipes on walls to challenge the “limits” of human beings and performance art like Marina Abramovic, the world of “self-help” has been at the centre of the efforts to change what the image of a whole, healthy and happy human being is.

In many ways, the “self-help” movement was the crucial Trojan Horse that helped re-pattern and re-centre Western civilization away from a healthy image of the self-made in the unique image of God to an outright worship of the self, without any context or higher notion of Natural Law existing beyond the realisation of one’s mere absolute will.

Further reading: Meet the Artists Behind the Artists: From the Doors and Crowley to Lady Gaga and Abramović, David Gosselin, 12 December 2023

Hubbard and Heinlein were both retired US naval officers and were both associated with the satanic Agape Lodge of the Ordo Templi Orientis, at one time run by satanic “beast man” extraordinaire himself, Aleister Crowley.

Alas, at least two of the three “astounding science fiction” authors shared the same essential luciferian-futurist ethic in various ways. From “free love” to “self-help,” sci-fi served as a clever means of spreading this new ethos for a new kind of bold, fearless, self-actualising humanity that was ready to unlock its deeper, hidden “human potential.”

The last of the “astounding science fiction” trio was Herbert, the author of the Dune series which is still spinning off new blockbuster films in 2024.

In all cases, Herbert, Heinlein and Hubbard presented their own but complementary outlooks on human nature, always veiled in the form of entertaining, action-packed stories.

At this point, we understand that this story is strange enough, but it gets stranger and stranger and stranger. So, why stop now? In David McGowan’s book ‘Weird Scenes Inside the Canyon’, the author describes the genesis of the so-called “Peace and Love” generation in Laurel Canyon, which manages to tie into our story in another truth is stranger than fiction way. As McGowan writes:

Another famous resident of Laurel Canyon was science-fiction writer Robert Heinlein, who resided at 8775 Lookout Mountain Avenue. Like so many other characters in this story, Heinlein was a graduate of the US Naval Academy at Annapolis and he had served as a naval officer. After that, he embarked on a successful writing career. And despite the fact that he was, by any objective measure, a rabid right-winger, his work was warmly embraced by the flower-power generation.

If that capsule biography sounds vaguely familiar, by the way, it is probably because it is virtually identical to the biography of a guy named L. Ron Hubbard, whom you may have heard of.

Heinlein’s best-known work is the novel Stranger in a Strange Land, which many in the Laurel Canyon scene found to be hugely influential. Ed Sanders has written, in The Family, that the book “helped provide a theoretical basis for Manson’s Family.” Charlie frequently used Strange Land terminology when addressing his flock, and he named his first Family-born son Valentine Michael Manson in honour of the book’s lead character.

A retired Naval officer like Hubbard, Heinlein lived just near a secret military facility (fitted with multiple film studios), the secret Lookout Mountain Laboratory, overlooking Laurel Canyon where the flower children were to be spawned. To this day, very little is known about this top-secret Lookout Mountain Laboratory.

But thanks to McGowan, what we do know is that:

Over its lifetime, the studio produced some 19,000 classified motion pictures – more than all the Hollywood studios combined (which I guess makes Laurel Canyon the real “motion picture capital of the world”).

Officially, the facility was run by the US Air Force and did nothing more nefarious than process AEC footage of atomic and nuclear bomb tests. The studio, however, was clearly equipped to do far more than just process film. There are indications that Lookout Mountain Laboratory had an advanced research and development department that was on the cutting edge of new film technologies.

Such technological advances as 3-D effects were apparently first developed at the Laurel Canyon site. And Hollywood luminaries like John Ford, Jimmy Sewart, Howard Hawks, Ronald Reagan, Bing Crosby, Walt Disney, Hedda Hopper and Marilyn Monroe were given clearance to work at the facility on undisclosed projects. There is no indication that any of them ever spoke of their work at the clandestine studio.” (McGowan, 55-56)

If you are unable to watch the video above on Rumble, you can watch it on YouTube HERE.

McGowan goes on to name the various founding fathers of the rock-hippie scene who were inspired by and spread Heinlein and company’s “free love” message, including David Crosby and Frank Zappa, both of whom were avid right-wingers and the offspring of establishment or military industrial complex-linked families, yet led the hippie flower power movement into the age of sex, drugs and rock ‘n’ roll.

As for Stranger in a Strange Land itself, it went on to inspire its own cult following, with multiple bands using the same title for their own musical portrayals, including Iron Maiden and Thirty Seconds to Mars.

The question becomes: If the purpose of these stories, or songs, was to present a particular outlook on man wrapped in the magical veil of “fiction” and “entertainment,” how many other works of art have been used in similar ways or for similar purposes today?

We should neither forget the charming power which poetry and its sister arts exercise over us nor underestimate the enchanting power of its magic-adept imitators. Like Plato, we may be very fond of a novel, film, or story, but we must always guard against magicians behind the curtains, lest we allow them to create reality for us.

So, let us proceed with caution, lest we end up playing out the wrong movie, or fail to discover the reality that magicians, shamans, and wizards would prefer we didn’t see. In truth, our actual reality is one which modern magic has too often concealed, but which humanity’s greatest stories will always inevitably reveal.

Works Cited

Bandler, Richard. Richard Bandler’s Guide to Trance-formation: How to Harness the Power of Hypnosis to Ignite Effortless and Lasting Change. Health Communications, Inc (2008).
Carey, John. The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880-1939. Academy Chicago Publishers (2002).
McGowan, David. Weird Scenes Inside the Canyon: Laurel Canyon, Covert Ops and the Dark Heart of the Hippie Dream. HeadPress (2014).

The Expose Urgently Needs Your Help..

Subscribe now to make sure you receive the latest uncensored news in your inbox…

Can you please help power The Expose’s honest, reliable, powerful journalism for the years to come…

Your Government & Big Tech organisations
such as Google, Facebook, Twitter & PayPal
are trying to silence & shut down The Expose.

So we need your help to ensure
we can continue to bring you the
facts the mainstream refuse to…

We’re not funded by the Government
to publish lies & propaganda on their
behalf like the mainstream media.

Instead, we rely solely on our support. So
please support us in our efforts to bring you
honest, reliable, investigative journalism
today. It’s secure, quick and easy…

Just choose your preferred method
to show your support below support

Read the full article at the original website

References:

Search Results

Bookmarks

Priming, predictive programming and Hollywood

Pulling Back the Curtain

It’s Only Fiction

Stranger in a Stranger and Stranger Land

Works Cited

Search Results

Bookmarks

Pulling Back the Curtain

It’s Only Fiction

Stranger in a Stranger and Stranger Land

Works Cited

Subscribe to The Article Feed