By

Jay Dyer

21st Century Wire



One of the more fanciful, or thought to be fanciful, topics I’ve been covering for a good while now is the subject of the relationship of the CIA to Hollywood.

Recent blockbusters like Zero Dark Thirty and American Sniper focus on the military and intelligence agencies in supposed “based on true events” scenarios, but is more at work here? The film industry has always loved tales of espionage, but in reality, the creation and manufacturing of a completely alternate reality and history is far more extensive than most would assume.

While many films have nobly challenged assumptions about war in figures like Kubrick or Stone, for the most part, film has functioned as one of the most powerful forms of propaganda in the western establishment’s arsenal.



HOLLYWOOD & THE CIA: BFFs 4-ever.

Watching some old G.I. Joe cartoon episodes for an upcoming analysis, I was not surprised to find Harvard psychological consultants as part of the production of the show, as reaching the youth with propaganda is central to creating cubicle dwelling automatons later in life. Likewise, researching this as a thesis topic was also instrumental in making these connections, as was the mass of information in Peter Levenda’s Sinister Forces trilogy. More recently, a plethora of news articles have surfaced that highlight this deep relationship, as this rabbit hole never ends. The coalescing of intelligence agencies, secret societies and Hollywood in reality is more sensational than any incestuous cult a pulp crime fiction writer could dream up.

Author John Rizzo has recently published a book titled, Company Man: Thirty Years of Controversy and Crisis in the CIA, which is an amazing admission of this scandalous affair between intelligence and the film industry. The L.A. Times comments:

“The CIA has long had a special relationship with the entertainment industry, devoting considerable attention to fostering relationships with Hollywood movers and shakers—studio executives, producers, directors, big-name actors,” John Rizzo, the former acting CIA general counsel, wrote in his new book, “Company Man: Thirty Years of Crisis and Controversy in the CIA….

The CIA also recruits actors to give more visibility to propaganda projects abroad, such as a documentary secretly produced by the agency, Rizzo said. And the agency sometimes takes advantage of the door-opening cachet that movie stars and other American celebrities enjoy. A star who met a world leader, for example, might be asked for details about that meeting.

The CIA has officials assigned full-time to the care and feeding of Hollywood assets, Rizzo wrote. Other former CIA officials added that some of those operatives work in the Los Angeles office of an agency department called the National Resources Division, which recruits people in the U.S. to help America spy abroad.”

With that in mind, recent news regarding Brittney Spears may reveal much more than the headline suggests. Researchers have opined that “rehab” centers may actually be used for “programming” the “stars” for various mind-controlled objectives (as John Marks hints at in his Search for the Manchurian Candidate), whether as sex slaves, or spies, as Rizzo discusses.

Author Dave McGowan has detailed the military and intelligence connections to Laurel Canyon, the home of the budding counter-culture rock movement in the 60s, which spawned acts like Frank Zappa and the Doors. Military and intelligence connections thus come to the fore here with Brittney’s ex, who “coached her through rehab” being killed transporting “dignitaries” in Afghanistan – obviously an intelligence cover. Was Sundahl her helpful boyfriend, or was more at work here?

The notion of mind controlled sex slaves and DID/MPD actors and singers is something still far-fetched for the masses, yet more and more information supporting this idea continues to come forward.

In regard to Lady Gaga and Amanda Bynes, I recently wrote:

“The potential for abuse here is quite obvious. In my old article, I also relate how the modern psychiatric “bible,” known as the DSM-V still cites Dr. Estabrooks’ old essay, showing the present establishment views all this as authentic, as well as a host of films that portray mind control themes. In fact, it seems as if mind controlled assassins and alters is appearing in countless productions with increasing frequency. Remember – it was Hollywood that was making films about MKULTRA before it was even known to the public as a real program, as we see in the 1962 The Manchurian Candidate.

With this direct Hollywood connection in mind, we can see the likely possibility of the abuse of pop stars, who become high-priced commodities for the same establishment. I have written before about Candy Jones, and all the way up to the present, top stars are now alleging they were abused by their “handlers” and/or producers. While some cases may be publicity stunts, it is hard to believe they all are.

News hounds will recall Amanda Bynes believing she was brainwashed and implanted with a microchip and Ke$ha recently suing for abuse by her “handler,” Dr. Luke, with Luke in turn counter-suing. Prior to that, we have witnessed a barrage of news stories the last few years recounting a stream of victims alleging networks of sickos using and abusing those under them. Let us not forget Penn State and Jerry Sandusky and Jimmy Savile of the UK, as well as a host of UK government officials. Recent reports also arose from actors like Corey Feldman, who alleges similar crimes.”

Details surrounding the death of screenwriter Gary Devore (author of Raw Deal and Time Cop) killed in 1997 also made the news this week, with the production of a new documentary on his questionable death.

The Daily Mail reveals that Devore was, in fact, working with the CIA, while the strange dating of the severed hands suggests a possible ritual connection:

“When the skeletal remains of Hollywood screenwriter Gary Devore were found strapped into his Ford Explorer submerged beneath the California Aqueduct in 1998 it brought an end to one of America’s most high-profile missing person cases.

The fact that Devore was on his way to deliver a film script that promised to explain the ‘real reason’ why the US invaded Panama, has long given rise to a slew of conspiracies surrounding the nature of his ‘accidental’ death.

It didn’t help that Devore’s hands were missing from the crash scene, along with the script, and that investigators could offer no plausible explanation as to how a car could leave the highway and end up in the position it was found a year after he disappeared.

Now the Daily Mail can exclusively reveal that Devore was working with the CIA in Panama and even a White House source concedes his mysterious death bears all the hallmarks of a cover-up.”



The concept of ritual murder is not foreign to Hollywood, when one recalls the Black Dhalia case, which I have discussed elsewhere. Hollywood is a kind of ‘Babylon’, as numerous researchers have suggested, and only with the advent of the Internet is becoming evident how close that nexus of CIA, underground mafia networks, occultists and intelligence agencies really is. It is a veritable threshold of the “gods” (little “g”), and gods often require a sacrifice – I wrote:

“That there is a dark side to Hollywood is generally known, given the numerous cases of bizarre deaths, yet the occult side is still lesser known. In his section from Sinister Forces Vol. III on “Hollywood Babylon,” Levenda includes a snippet from comparative religion writer Mircea Eliade: “Babylon was Bab-ilani, a “gate of the gods,” for it was there that the gods descended to earth….But it was always Babylon that is the scene of the connection between the earth and the lower regions, for the city had been built upon bab apsi, the “Gates of Apsu” – apsu designating the waters of chaos before the Creation.” (pg. 109)

And in Eliade’s, The Sacred and the Profane, he explains of the ancient conception of the threshold or gate, which is peculiarly applicable:

“A similar ritual function falls to the threshold of the human habitation, and it is for this reason that the threshold is an object of great importance. Numerous rites accompany passing the domestic threshold – a bow, a prostration, a pious touch of the hand, and so on. The threshold has its guardians – gods and spirits who forbid entrance both to human enemies and to demons and the power of pestilence. It is on the threshold that sacrifices to the guardian divinities are offered. Here too certain paleo-oriental cultures (Babylon, Egypt, Israel) situated the judgment place. The threshold, the door show the solution of continuity in space immediately and concretely; hence their great religious importance, for they are symbols and at the same time vehicles passage from one space to another.” (pg. 25)

In analyzing J.J. Abrams’ Alias, we saw this week that Jennifer Garner was recruited by the CIA to be a kind of PR front to sell recruitment as glamorous. A few days later, the Washington Post ran a revealing piece that coincides with my analysis, titled “Ex-spies Infiltrate Hollywood as Espionage TV Shows and Movies Multiply.” The article treats the issue as if this is some new move, when readers of JaysAnalysis know this is nothing new, but a classic dark marriage that existed all along. Consider the laughable irony here, as The Americans is a show about KGB infiltration of America, in the midst of an article about actual CIA usage of Hollywood (as propaganda), as the Post writes:

“Hollywood tends to be a destination spot for a lot of Washingtonians,” said David Nevins, the president of Showtime, which produces the spy juggernaut ‘Homeland.'”

“There was the ‘West Wing’ crowd of former politicos. I’ve met with more than one former Navy SEAL. And now, certainly the intelligence community has been the most recent in a long line of Washingtonians trying to come out and tell their stories.

Weisberg, whose show begins its third season on FX on Wednesday night, is perhaps the most successful of the CIA alumni who have infiltrated Hollywood. “The Americans,” about two deep-cover KGB operatives living in suburban Virginia in the 1980s, was ranked by many television critics as one of last year’s top 10 shows.

But Weisberg, who left the CIA in 1994, is hardly the only ex-agency guy trying to cash in on the spy show craze. (Spy shows, one executive at a major Hollywood talent agency observed, have become as ubiquitous as cop shows.) Former senior CIA officials Rodney Faraon and Henry “Hank” Crumpton are the executive producers of NBC’s “State of Affairs,” which stars Katherine Heigl as a CIA analyst and member of the agency’s presidential daily briefing team — one of Faraon’s old jobs.”

Let us also not forget the role of Melissa Mahle, former CIA operative, in “coaching” and “advising” CFR member Angelina Jolie in her role as triple agent in SALT, the 2010 espionage thriller. The film itself was loosely based on Mahle, as the Telegraph reports, “Jolie’s role is based, loosely, on the experiences of Mahle and other spies. ‘I was very impressed when I met Angelina,’ says Mahle. ‘She was very intent upon understanding not only what a real CIA officer was like but also the motivations behind our actions.”

Indeed, it is becoming more and more apparent that Hollywood really is the flip side of the CIA, when we think of Ben Affleck doing a film like, Argo, based around CIA operative Antonio Mendez, one of the Agency’s Masters of Disguise. Indeed, Affleck revealed Hollywood is “probably full of CIA” to the Guardian, in the wake of his film about the CIA staging a fake B movie shooting in Iran.

As these revelations continue to leak, we can expect more evidence to confirm the kind of thesis Freeman puts forth in his following documentary on Anna Nicole Smith, where the extent of mind control connecting Hollywood and the dark side of the CIA may run far deeper than even I imagine, especially when we think of individuals like Sammy Davis Jr. and Jayne Mansfield, who were members of the Church of Satan, as well as a host of other celebrities who fancy dabbling in the occult – for example, here and here. In fact, films like Eyes Wide Shut have revealed these very associations, and from the Black Dhalia to Mulholland Drive to Milla, these connections are real, especially when we understand films like Zero Dark Thirty are pure CIA propaganda fictions.



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21WIRE contributor and author Jay Dyer is commentator on media, art, philosophy and culture. An earlier version of this article and many others, along with Jay’s podcast archive can be found on his blog Jay’s Analysis.

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