Eyes Wide Shut & Ninth Gate - Esoteric Hollywood 2 - Jay Dyer

me the most mysterious. But I think it's also fitting because esoteric course refers to something hidden or secret, and what I try what I tried to do in the book was kind of unveil those hidden secret aspects to film, be it the symbolism that you mentioned, or be it the realities behind screen screenwriters and their connections at times to the CIA or the Pentagon and espionage, and lay

it all out. I tried to come at film from a lot of different levels, and so I felt like that was the most appropriate title, And I think I'd already kind of been playing around with a podcast with a similar title.

would say that that translates into the present day. The British Empire had its mythology, and the American Empire has its mythology as well. And one of the ways in which that mythology is inculcated into the population or indoctrinated into the population is their storytelling. And of course in our day that is Hollywood. So many writers, as you said, have in the past, most notably Kenneth Anger with his

kind of sex scandal book Hollywood Babylon. I thought it was an appropriate image, but I wanted to expand beyond just you know, lurid sex tales and take it into the direction also of understanding how we're given our mythology by the Pentagon, by the CIA and their influence. And

it's not totally the Cia, obviously Pentagon. It's also you know, people creating stories and using their creativity, but unfortunately a lot of times the state co OPI that the corporate state, and gives us messages that they want inserted into films as well. So it's a mix of both, and that's why Babylon is I think an appropriate image. And if you go to Hollywood you'll see the old sets from I think, what is it did Griffith's Griffith's Intolerance film,

which is from Babylon. It's the architecture of a Babylon from films that.

setters that we would follow. So they're almost like a replacement for astrology in a way, like literally following the stars. And that was actually the studied and designed by admin marketing men, a lot of whom came out of the OSS, which is of course the predecessor to the CIA, And so it's kind of a science. It's a technique. The Rand Corporation and the Tavstock is they've all studied stuff

like this, so it relates to movies. And in a way, you know, you can have this idea of Babylon as the gait of the gods, right, the pantheon of the celestial deities and whatnot, and Hollywood kind of represents that. Now it's kind of a gate to the human gods, right, or the superstars that we view as gods who we think lived this far off heavenly lifestyle in Hollywood Hills or something, and really, you know, this is all concocted lies.

it back into reality kind of invocation. And even in for example, Plato's dialogues, you can read Ion where Socrates has a dialogue with some musicians and people from the theater and they talk about how what they really want to do is to become possessed by the God or to become another character. And this is essentially what method

acting is if you study Stanislavsky or method acting. So there is a direct parallel, you know, whether one believes that it really is some kind of possession of an entity or just a you know, a very deep skill that that one takes on another identity or lives out another character. Either way, it's something that goes back to the ancient world, and we don't know everything about, you know, how drama was conducted in the ancient world, but it

was very similar to liturgy. And if you think about a Catholic Mass, or if you think about an Orthodox a worship service, a liturgy or something like this, the ideas that we're acting out through the worship service events that sort of transcend time and space. They bring the celestial of the heavenly or the eternal down to the

here and the now. And although most people don't think about movies in that way or theater in that way more properly, that is bound up with the history of theater and acting, and what.

So and then he gives a whole bunch of other kinds of techniques of how to really perfect his craft. So you know, I'm not I'm not a super expert on Stanvezlowski. And there's plenty of people I'm sure who you know, who went to various acting academies. And but but if when you see somebody, for example, like Christian Bao, if you remember in The Machinist, when he took on that role, he got very very deathly thin, like he got sickly thin to play this role Jeremy Irons, you know,

Robert de Niro. These are people who attempt to do method acting, attempt to become the character, and sometimes they can have a very deleterious effect on the body itself.

thousand and one. You know, that's all fine and well, but I think that you know, when we see something like eyeswait, shut, I think it's a direct illustration of, as I said, the real power structure. So it's not politicians, it's not presidents. These are as, doctor Carroll quickly said, frontmen. They're the people who give the masses the impression that they have a vote, that they have power, when in fact the world is actually run by far more wealthy people,

oligarchs essentially. So if we consider the power structure, for example, between behind the Catholic Church, it's pedophilia cases, and then how that has connected to a lot of very powerful politicians in various countries. This has been well documented by

court cases and journalists for many decades. Now, I think that we get to see an insight in Kubrick's given us an insight into that very point that the real power structure is more like billionaires in the sense of, you know, something like Blofeld from the Bond stories, than it is you know, Donald Trump or Barack Obama. They're more so kind of front characters.

and whatnot. So Bowert described the the secret shadow government of the US, the cryptocracy, CIA, Scull and Bones all those networks as a cryptocracy because of the fact that they do essentially a cult or secret or hide their methodology. Now, it doesn't mean that everything is secret. Some things they're secret, somethings aren't. But a lot of times this stuff is made public so you can find For example, doctor Jose Delgado is one of the m culture doctors. His books

are public. He has a public book called Physical Control

of the Mind. And so you know, when Walter Bowart wrote his book, he's saying, look, we can we can look at what the cryptocracy has published, and even from what's public, we can get clear enough idea into the methodology of how the social engineers, how the think tanks, how the d nng o's, how the the the academics, how the technocrats, how they all kind have worked together to foster the same overall goals, even though they might at times have differences.

a way. But they realize that they're encountering I guess, somewhat typical marriage type issues, and the Tomkers character is sort of tempted to find sexual gratification elsewhere, and this sort of leads to a chain of events, a kind of of snowballing effect of him kind of wandering around outside of marriage on the town and encountering a series of so called coincidences that lead him to this big estate where there is a masked ball, sort of a

Renaissance style orgy going on at this elite estate. And it does, I think, have very conscious satanic and Crollian elements to the mask ball. It's very much a ritual. I don't think there's any question about that, and that I think suggests that many of the elite are into these kinds of occult practices, especially something like the followers of Croley. So what happens is that he goes through

the ritual, but he doesn't fully embrace the ritual. He's hesitant, and he is essentially kicked out and found out to be and interloper. Right. He's not welcome there. He didn't have the secret password, the Tom Cruise character that is, and so he heads back home and we are kind of left with the unclear impression that maybe even his wife was there, because she seems to know what he

was up to. She has a dream about this, and of course many people who interpret the film they debate whether or not either she had some sort of preternatural suspicion of him being there or whether she actually was there. It really doesn't matter because the point I think that the Couper is trying to convey to us, in my view, is that you know, the real world really does operate

like this. This is the real power structure of extremely wealthy people who are far above politicians, and the rest of the film's narrative, without giving too much away, if you haven't seen it is that the cult essentially has at its it has basically all the powers and functions

of an intelligence agency. They're able to have Tom Cruise's character survey oled followed, they know everything about him, they have moles everywhere, and they're able to even craft news stories to cover up murders that the Cult is able to engage in. And this is really what some writers have called the CIA, the Cult of Intelligence right them, that's who could pull all this stuff off. And as many histories of espionage have noted, the CIA is more

like a private, private intelligence army for the Rockfellers. You know, it is the Rockfellers and British intelligence who established the CIA. So I think Cooper is roughly hinting at a lot of these different things. It's a kind of an overall portrayal of the power structure. And that's why he called it eyes White shut, because most people just think that the the world is ruled by politicians and bureaucrats, and

it's not. It's ruled by you know, extremely wealthy finance capitalists and corporates.

of palaces. So but yes, it's also if I recall the mansion that you see in Batman The Dark Knight, the you know, Christopher Nolan, Kristen Bale Batman, that's also the Rothchild estate there, and it has a very interesting history. It's it's a in a state that the Beatles did a lot of transcetal meditation with Maharishi mash Yogi with so it's a very colorful history to that estate. And I think it's since been sold off. It's not owned by I think it's like an ucum, it's owned by

the state or something. It's not probably I don't think.

another indicator. I would say that, you know, Polanski was telling us things about the underground networks in the US back when he did Rosemary's Baby, and I don't think that he ceased telling us kind of what was going on up into nineteen ninety nine with The Ninth Kate, and so in ways, it's kind of a version of Dante's Inferno, where the lead character Philip I think is

Philip Corso or something like that. The Johnny Depp character is a book dealer who's led down into the underworld and he meets various characters who are seeking Satanic or Luciferian power, and without giving too much away, he discovers it in a way that he neither heat nor anyone else expects.

you know whatever. But it is a creepy film. I think in ways we've got back and watch it now, it's kind of silly, it's kind of cheesy, but there still is a creepy element to it, especially when you know, you look at the Dakota Building where it's filmed, and the weird history of the Dakota Building with the assassination of John Lennon and other weird films that have been

filmed there. If you watch Vanilla Sky, I don't think it's accidental that they put Tom Cruise is kind of fancy condo in the Dakota building, which isn't a weird element. I haven't really gotten to Vanoskay yet, but it definitely deserves someone else's. And then of course you have the the overtly you know, satanic element of trying to bring in the Satanic aon with the impregnation of the mia

Faro character. And but I think we can't forget the other element that a lot of people forget, which is that her husband, who's in on it, his whole reasoning for all of this is because he wants to make it in Hollywood. So he wants to be a famous actor in Hollywood. And part of his reason for going along with this is that the Satanists in Hollywood can hook him up if he goes along with, you know, with the plan, with their plan for Rosemary.

consulting that look. Satanism can also take on a very subtle, mundane appearance as well.

or whatever. But we did I think twenty something episode nineteen twenty episodes of film analysis, very similar to what's in the book, and one of the episodes plans Ky's Chinatown, and I think, once again, you know, whatever you think of Polansky, we do have an insight into the power structure because there it's the Los Angeles power structure William Holland and kind of a commentary on how Los Angeles in the I think it's in the twenties, if I recall,

came to be through corporate subterfuge, through the privatization of water, and it was just a very crazy, wild story which is loosely based in reality. That's not exactly true, but there are some weird parallels as well, with the fact that William Holland is played by John Houston or the guy who stands in for William moholland who and John Houston the actor director was, according to Steve Hodell, the son of George Hodell, the famed suspect in the Black

Dolly ritual killings. It's actually John Houston was in the surple, very close friends with with George Odell and supposedly participated in these sort of ritual orgies and satanic celebrations that George George Odell was involved in. So you know, again, what is Polanski telling us here?

as long, along with Man Ray. And I don't think that the accusation is that John Houston was a murderer per se, but that he was a participant in their parties, and that that also is corroborated in Steve Hodell's book Black Dahlia Avenger, which is the central argument that he's you know, he's I think a police detective for something, but he's saying that it was my dad, my dad was the Black Dahia killer or him and other people like surrealist artist Man Ray.

are shot accidentally or just because they look good. I think they do have a significance and I think that the opening sequence with the two pillars could suggest, you know, the ideas of masonry, the idea of the lodge with the two pillars Jacin and Boaz, which derives ultimately from Solomon's Temple in the Old Testament. That's how the the Freemasonic lodges adopted the two pillars in their system. And it's really kind of a it has a multiple layer

aspect to it, towards interpreted to be different things. Sometimes it's day and night. Sometimes it's you know, ealectical tensions between good and evil. Sometimes it's just male versus female. Again, it's just really suggesting duality. Two sides of the of the Cabbalah, for example, the two pillars, the two mercy and severity sides of the cobblistic tree. You know, Albert Pike says that this is all what masonry is based on.

So I think that perhaps Kubrick is suggesting that. I mean, there's a lot of evidence that, for example, two thousand and one is based on cobblistic ideas and imagery. So I don't think it's out of the realm of possibility that Kubrick is including that in Eyesweight Shut as well. So the idea of you know, Nicole Kidman sort of

being half naked there. And then the idea here is that you're looking into the secrets of how the occult elite or the social engineers, how they rule us is in many ways through controlling our sexual desires through the libido. That's a Fortian theme at least, and there's no doubt that there's Forty in elements throughout kubrick films, absolutely, and so I think perhaps what he might be saying is that you know, you in a way, you're peering into what you think is the sex lives of other people.

There's kind of a meta fourth wall level analysis that's broken here. And with the fact that at the time Tom Cruise and Nicole Kimmen actually were married, and you know that the paparazzi were always talking about their sex lives and crazy stuff like that. So so there's that element too. There's a lot of different layers going on here, but you know the fact that we're looking through the two pillars and to see the bare naked woman, the

A list star or something. I think this suggests that you know, Kubrick is saying you are a sort of a porn obsessed society. You're you're controlled by these by this libido desire and you don't even realize it.

the lines of people that that stand outside of you know, to get the latest plastic thing from China or whatever. You know, it's a never ending kind of consumer black hole. That's what Christmas represents. And it also could be that he's saying that, you know that from the perspective of the social engineers, Uh, it's it's an it's an attempt to invert the message of Christmas because a lot of Satanic imageries of course based on inversion. You invert the thing to give it its dark power.

realization of what he really is, what he really represents. So, for example, the beginning, seeing that when they're having an argument about sexuality within marriage and attraction, Nicole Kimmen actually catches Tom Cruise in a lie. She says, were you tempted or attracted by the two girls that hit on you at the party? And he's like, oh no, I would never And she's like, you've never been attracted to

another woman? And Tom Cruise insists that he hasn't, and he's lying to himself, and she knows that he's lying, and he knows that he's lying. So there's another element a lot of people miss throughout the film when you get focused on the esoteric stuff, which is about reflection

and about realizing how we all wear masks. That's another theme throughout the film that's kind of I would say, grounded in the existentialism of Jean Paul Sartre, which you know Sartre said that we're all kind of wearing masks and we're we're not admitting that our true authentic selves. Right. That's a part of this film too that people overlook.

part of the ritual. So it would appear that throughout the story, and this is my thesis on the film, it would appear that the characters that Tom Cruise keeps sort of interacting with and by chance meeting, it's not by chance. He's actually being led to the ritual.

to be in this cult. But there's no out of this cult. And so whatever her sort of strange laws or rules this cult has, she has to offer herself as his redemption. And she does because you know, she wants she wants out in the most extreme sense, like she's willing to die. She's already been, you know, trying to overdose, and so she says, well, I'll just give it up and you know, he can have my place or whatever. So that's my theory on is that this is a class of elite. There's a strict class system.

This is part of it as well. You know, Kubrick is a pretty constant critic of the class system, going all the way back to Spartacus. Kubrick is saying that you're not going to reach a certain level no matter who you are, right, I mean, in other words, you can if you're Tom Cruise in your upper middle class, you know, lower bourgeois whatever, You're not ever going to be in this class of people. And that's what Tom

Cruise can't fathom. He's being inducted into the cult. That's kind of one of the debatable topics the end of the film.

a building that is you know, controlled demolition. So there's some weird stuff in there. Other films are a little clearer than this, I would say, like the pilot of the Lone Gunman series, which is the XOLE spin off. The pilot air I think six months or so before the events of nine to eleven, and you have hijacked radio, hijacked airlines that are attempting to be flown into the World Trade towers by a rogue shadow group within the

US government. Again, I think that's very clearly hinting at something. We also have a lot of films that were preparing us for the idea of the large scale Arab terror attack. The first of these that's a blockbuster, is true lies the James.

aircraft carriers or military equipment. There's a great book on this about the Pentagon and the CI in Hollywood, David rob His book on this describes how the usage the military equipment requires that you kind of go along with certain narratives that the Pentagon might want, like we want you to portray the military good in your film, and then you can use our tanks and helicopters or whatever

in the back round. Or it might be something like, you know, if you want to use our equipment, we'd like to go ahead and start maybe easing up the American population to the idea of the Arab terror attack. We think that the Arab terrorists are coming to get us. So this would begin to be put into films another film that not just me, but actually a professor Elliott Gaines,

who's a professor at something like University of Iowa. Maybe anyway, he wrote an essay a long time ago that's since been i think published into a book about symbology and film and pop culture. And he also noticed a long time ago that the imagery and symbolism of Independence Day, which came out prior to nine to eleven, is chalk full of imagery, kind of preparing the public for large scale terror events and specifically the demolition of big scale

buildings in New York by this quote alien threat. And again if you think, well, yeah, but it's aliens, it's not Arab terrorists, well, actually, if you go back to the Cold War, you can study how the military was using the alien phenomenon in science fiction as part of psychological warfare. Because in the mind of the average viewer when they're watching, for example, the Twilight Zone and you're

seeing all these alien threats against the US military. The reason that the Twilight Zone quite literally had Department of Defense consultation was that it was seen to be part of the Cold War. Because the human mind associates any external threat as an external threat, doesn't matter whether it's in fiction, it's aliens, and then the news tells you it's you know, the commis or the the the are

of terrorists. That's the way psychological warfare works. They know that the subconscious will associate the two, so you can actually use fictional aliens as a staged fake threat to control the population.

up Milt Bearden. They are famous CIA liaisons and consultants for calltless films, everything from The Meet the Fowkers, if you've seen the Ben Stiller comedy, either Chase Brandon or Milton Beard and consultant on that The Recruit with al Pacino and right Felipe that was a CIA made film, Kathleen Kennedy and her Zero Dark thirty and these are all quite literally CIA movies.

And so one of the first tier level one conspiracy things that you learned about this is that that's military conditioning, right, and that that's not too far fetched when you start to think about, well, yeah, I guess that does make sense why g I Joe was introduced to, you know, give the idea of join Uncle Sam in the fight against all the bad guys, and that makes sense. But

why is that crazy? Well, it gets a lot deeper than that, because in the narrative of G I Joe in the cartoon series in the eighties, I mean you actually have episodes that are dealing, for example, explicitly with the Federal Reserve of all things, and how the fiat

money isn't real. And there's actually an episode where Cobra institutes Cobra currency and he goes into this this rant about how the Federal Reserve is a fiat money, it's not real, and Cobra currency will be backed by gold because gold is you know, the true true standard for how currency should be back I remember when the first time I saw that years ago, I was like, well, that's kind of weird. Why would that be in G

I Joe? And then I started rewatching the G I. Joe cartoon episodes and I started noticing consistently, Oh, well, here's one episode that's about sky Neet and the creation of like global surveillance you know. Okay, well that's kind of a science fiction thing, and I guess that's too weird. Well, then another episode we start seeing a geoengineering weather modification. I'm thinking, well, that's a little bit stranger. Why would that be a G I Joe? And then the next

episode you're watching it, it's about quite literally mkulture. They're referencing the military study in My Control Now. Of course, most of the time in the G I. Joe cartoons it's Cobra. It's the bad guys that are doing it, but in some cases there's even episodes where the good

guys and the bad guys have to link up. For example, Cobra is a terrorist organization in the narrative of the G I. Joe, but there are some episodes where G I. Joe has to link up with Cobra to fight a common enemy, and I'm thinking, well, that's that's very bizarre, because did the military have to supposedly link up with the jiahaties right to fight the Soviets? That was the

American narrative even into the eighties. In fact, the Living is it's either I think it's Living Daylights, the episode the Bond film in the eighties eighty seven, I think with Timothy Dalton. In that film, Timothy Dalton teams up with a quite literally a bin laden character and then

mujah Haden to fight the Soviets. So even into the eighties, you know where they were still promoting the narrative of the Jihad and the Musja Hadeen as the freedom fighters to good guys, and even in Gi Joe at times the terrorists are our allies. So it gets crazier and great, you can keep going and keep going with nanotechnology and all this this really far out future tech was placed into the eighties g I Jo series.

to brainwash all of our POW's and all that. And actually, Walter Bower and his great book Operation My Control, he makes a very powerful argument that that that was itself kind of a sile, that that what the American military was doing was trying to have a justification for their own large scale psychological testing and my control experiments known generally as MK Ultra, under the guise of saying, well, the comedies are going to do this to us, right, Well.

That actually came out right before the Watergate stuff, and other people have noticed the strange parallels to the Watergate surveillance and Conversation. So the predictive programming aspect of things appearing in fiction before they appear in so called mainstream reality, it goes back a long way, you know, it doesn't. It's not something that started in the nineties or two thousands. I'm all the time funny examples like this, and and yes,

it's absolutely similar. When it comes to assassination attempts. There's another great example of this that kind of hearkens to JFK and maybe the other assassinations or attempted assassinations in the Warren Batty movie, The Warren Batty movie, The Parallax View, The Parallax View. Yeah, thank you.

to go through this company's program. It turns out it's a giant mind control program and they're they're wiping people's brains and they are looking for the perfect Patsy, And of course turns out Warren Baty fits the profile of the perfect Patsy. So spoiler alert, I'd kind of give it away, but it relates to the assassination of a i think a populist politician or something to that effect.

So there's definitely some meat there in ways similar to kind of a clockwork Orange another Kuber film, where Kubrick is telling us about the Tavistock style brainwashing attempts to condition the public and the masses to have no to have no virility, no drive, no desire for change, to just be to be passive and apathetic. That's essentially what they do with the the udlum character Alex in the film that you know, they turn him into a docile, sort of sort of zombie.

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