10:15:23

Robbie Williams, 2023

“Our job is to keep secrets, not to give them away.”

-Former CIA operative, Tony Mendez

“Very few people outside of Hollywood know what CAA is, or those initials. And yet, it follows us all day…Below the surface there’s a lot unknown.”

-James Andrew Miller

“Government is the Entertainment division of the military-industrial complex.”

-Frank Zappa

Newspaper clipping on the formation of CAA (Creative Arts Agency).

Interestingly, in the quote above, author James Andrew Miller uses a spy/surveillance analogy to describe CAA—”It follows us all day.”

But most of us, says Miller, still have no idea who they—CAA—are.

In CAA’s 20th Anniversary Video (1995), director Richard Donner makes a joke, conflating the CAA (“where everybody spies on each other”) with the CIA. Donner happened to make a film about MKultra starring Mel Gibson in 1997 called Conspiracy Theory.

In the same anniversary video, Austrian restaurateur Wolfgang Puck also jokes that he thought there were “only two agencies, one was the KGB and one was the CIA.”

What’s with all the secret intelligence jokes and allusions? The jokes are a cover to stave off suspicion about Hollywood’s deep ties with government intelligence agencies. In the karmic law of the cabal, they have to make jokes of their disclosure. As FCB put it, “They’re telling you the truth, but then they’re using comedy to discredit it.”

The CAA anniversary video is spin.

Prior to the takedown of Harvey Weinstein (an inside job), once the King of Hollywood, Weinstein was protected by the Mossad, who are even higher up than the CIA. The Mossad is a creation of MI6, as are the CIA and Five Eyes. Robert Maxwell (Jan Koch), the Khazarian spy, was instrumental in their creation, and then Ghislaine, his daughter, took over when he retired. It’s not a coincidence that Robert Maxwell ran the UK newspaper, The Mirror.

Seen from above, CAA’s occultist Century City, Death Star architecture, includes pyramid roof shapes, the eye of Horus and the Eye of Providence. (I wrote a very long post about occultist architecture, gematria, black cubes, and the black monolith of Kubrick’s 2001, some months back that I never published.) In 2007, Gawker.com reported on CAA’s new headquarters: “One guy, risking eviction by the agency thought police, told his friend that the building ‘was designed in typical CAA style — scary.’ ‘Scary,’ however, doesn't quite cut it. ‘Possesses an air of foreboding doom’ is more appropriate.” Only one room, reports Gawker, has a “drop of color” in the entire building, the Red Room,“whose walls are coated in an assaulting, scarlet paint.” The Red Room? How on the nose. What is this Red Room for? Red symbolizes blood and sacrifice.

Aerial view of CAA’s Century City Headquarters. “A stronghold design.”

In the 2022 documentary, Enjoy the Show (watch video below), CA senator Diane Feinstein, who just died, asks comedian Chevy Chase to help her ban assault weapons.

Bill Clinton personally thanks the CAA at a1993 gala: “So many of you,” he gushes to the Hollywood elite, “worked for me in the last election.”

“Who are part of the pimp problem? CAA,” states actress and early MeToo figure, Rose McGowan, admitting that Hollywood is a pimp network.

Imagine what Bill Clinton was giving CAA in return for their “help”?

Years later, Gayle King (best-friend of Oprah), doesn’t even call CAA a talent agency. Speaking to CAA co-founder and super-agent, Michael Ovitz on CBS This morning, King tells him she is “very proud to be part of the firm.”

Firm?

Remember Sydney Pollack’s 1993 film, The Firm?

The Firm: “If all your money comes from one source, then you tend to be very loyal to that source.”

And if you’re not loyal?

Remember when Hollywood actors refused to get involved in politics, insisting that entertainment and politics should never mix—and we thought these were the good old days? Hollywood wouldn’t take a stand on anything, which divided the public. Some thought this was how it should be—they’re just “dumb” actors—others thought actors and directors were cowards for not taking a position.

Either way, this was a false optic, a lie. The only difference is back then they were mixing Hollywood and politics covertly (behind the scenes, behind our backs) and now they do it overtly.

Johnny Depp inciting violence against Donald Trump Contrast that with Jerry Lewis, who when asked if he was a Democrat or Republican in 1999, answered, “Never take a position because you lose half your audience.”

Ronald Regan was a Hollywood actor first. George Bush Senior was director of CIA.

Actors have always been dual-citizens of Hollywood and secret government.

I keep trying to figure out why more people still aren’t awake to this yet, or aren’t upset about it. Is it too late to care? Maybe the problem is people don’t understand how to interpret what all of this really means. What it means about our world. About everything we thought we knew about the world. Maybe it’s more than cognitive dissonance, cynicism, and denial. Maybe it is an inherent inability to make sense of what we are uncovering. To connect all the dots takes a lot of work and stamina. To come to all the necessary conclusions takes a massive toll. It requires an intense re-education. There are so many layers of programming and so many programs. To be outraged by more than just what you personally think you are owed in this world; to undo the thinking that some weaponized scapegoat is supposedly standing in the way of your happiness (racism, sexism, homophobia, transphobia, etc). If the establishment agrees with you, and promises to give you what you want (victimhood) in exchange for you agreeing with them (with their corruption), how could you ever object to anything they do; to anything they require you to do in order to get what you want from them?

The Cold War pysop is still profoundly entrenched in the American psyche (I should know, I am Russian and my parents emigrated to America in 1973. I was born in New York)—we believe America makes entertainment while the East makes propaganda. Entertainment, as I have written in books like Beauty Talk & Monsters (2007), was America’s cover for making propaganda in the same way that identity politics is a cover for social justice, human rights, and a Manchurian regime. Is Antifa really so different from The Bay of Pigs? None of it is real—“They controlled the narrative and the counter narrative.” (Enjoy the Show). Speaking of the infiltrated art intelligentsia, author Frances Stonor Saunders (“Who Paid the Piper?: CIA and the Cultural War”), calls the secret alliance between the government and the arts, the “Collective cultural Nato.” (I find this comforting, as I could never quite figure out why I didn’t fit in as a writer and critic all my life. Why I hated the very world I was supposed to feel at home in. I was also always spiritually repelled by it). America has been attacking Russia and China for this very thing for a century so that no one would point the finger at us. We were superior, we were free, we were good.

Watch the wildly arrogant Claire Daines (starting @36:50-41:10. See video for the doc below. I met Danes many years ago through friends. She was complete asshole towards me—I was the only other woman in the group. Her boyfriend at the time, Billy Crudup, was sweet and down to earth) tell the CIA-sponsored Stephen Colbert about the CIA-sponsored Homeland series and their predictive programming (she doesn’t call it that). Colbert calls the Homeland “prescient.” No, not prescient, pre-programmed. Why were we all okay with this? It’s insane. I have always hated these shows, while all my peers and friends loved them. No one questioned it. But then the Americans, a cable television series, has the nerve to attack Russia and KGB agents? Listen carefully to what Daines is saying. What do we think American entertainment is? And how far have we been willing to go to enjoy it? “The collateral damage is the spectator.” Mandy Potemkin, who starred in Homeland and Spymasters, says the only difference between the CIA and the television productions they advise and co-write is “poetry”? By domesticating agencies like the CIA and the FBI, they made us trust them and “like” them. They made us believe they were our source of intel, instead of the other way around—we were always theirs. By making themselves an overt (rather than covert) presence, creating wide acceptance in and through popular culture, news media, and academia, the CIA rebranded themselves as a force for good, training us to welcome their control and invasion of our privacy.

Just as the smartphone is a mind control system, as an instrument of mass propaganda, Hollywood was designed to manage perception using the disinformation of false entertainment. Watching Enjoy the Show, knowing what we know now, everything looks like propaganda. A staged event, like the Berlin Wall coming down. How happy that made my parents and all their German friends, who were artists and intellectuals.

Now? It looks phony.

Nothing was organic. Everything on the world stage was simulated. Planned.

In a 1984 interview with ex-KGB agent turned CIA informant, Yuri Bezmenov explains "The Four Stages of Ideological Subversion" (Demoralization, Destabilization, Crisis, and Normalization), a deliberate Soviet attempt at infiltration and subversion. Bezmenov also depicts a culture of intellectual dishonesty and explains the way these kinds of systems of collective tyranny and corruption result in split personalities and duplicity, creating what he succinctly refers to as, "a bunch of political prostitutes." On the exploitation of foreign diplomats and intellectuals in the 1960s and 70s, Bezemenov states: "Most of them pretended that they didn't understand that we were working on behalf of the Soviet government and the KGB. They pretended they were guests, VIP intellectuals; treated according to their merits and intellectual abilities. For us, they were just a bunch of political prostitutes to be taken advantage of for various propaganda operations; anticipating another ideological victim of brainwashing."

American artists and intellectuals have been similarly programmed and weaponized (bought off) by the Deep State. How much longer can we continue to deny that? John Patosh, author of Drugs As Weapons Against Us: The CIA War On Musicians And Activists, stated that, “One of MK-Ultra’s major sub-projects appeared to be the targeting of popular musicians in general. As one of the CIA documents stated as a tactic, ‘use narcotics’ on them.”

Americans have been trained not to be critical thinkers. Not to have our fun spoiled. We are an entertainment society, first and foremost. We are addicted to Hollywood and mass media. Raised by intellectuals and Russian dissidents, I was taught the opposite. “Hollywood: factory of America’s imagination.” Factory is right. We are mass made. Our ideas are cheap and fake and can easily be bought.

The story of the CIA is the story of Hollywood, which is the story of 20th-21st century America.

CAA is CIA-subsidized and CIA-manufactured entertainment. The CIA also financed most of our foundations and institutions (“The CIA set up a huge networks of phony foundations.”). Everything has been inverted. Yet it is exciting to be left with nothing but the truth, because I have already done the mourning work. I thought I had lost a world in which it had once been so much better, more interesting, to be alive. But that was never true either. Evil was hidden then, now it’s exposed. Of course that feels worse in a way. It’s also true that everyday people, along with artists and writers, were indeed more interesting, more real—less captured— before social media. The bar use to be much higher, now there are no standards whatsoever. And I do miss that. Very much. I will always miss it, those deep, soulful connections.

But the future is what will be truly good. It’s what we’ve never had. It’s what we’ve never felt.