Culture Shock & Awe

Hollyweird and the Weight of Greed

We are in a War of Stories.

There’s nothing cute or reductive about that. In fact, I don’t think it gets any more Big Picture to suggest that anything and everything we pay attention to in the Info War, the Mind War or the Strange War—whatever you want to call this Fifth-Generation conflict between the forces of Globalism and Sovereignty the world over—runs the gamut between Actual and Potential Events through the lens of Stories seeded into the Collective Mind, germinated by ongoing revelations and deployments of the Media, Political, Financial and even Military variety and consummated by the fusion of Real with UnReal—the collapse of the one into the other that forms a cognitive catharsis point for the observing mind.

And we are that observing mind.

You. Me. More importantly—and for our purposes today—the ‘sleepers’ among the general population in the United States. Those within the reductive and outdated groupings we assign to the ‘Right,’ ‘Left,’ and reachable ‘Center’ of political and social ideology in this once-great and future-great nation we are trying to both preserve and reform in keeping with—and perhaps to exceed—the vision of our forebears.

While much of my own writing and commentary and those of my peers in this Truth Community often focus on analysis of this awakening Collective Mind we are attempting to shepherd into the light of awareness as to the true nature of the Deep State’s System of Systems that has enslaved us for generations, I often remark that I feel ‘our side’ on this Game Theory Game Board sometimes dismisses theaters in the Mind War—in the war the Collective Soul of American Society—in service of more fundamentalist, political aims.

Of course, politics is a story, just like economics is one, and both are key to forming an understanding of both the Actual and the Potential of the ongoing conflict between Globalist Collectivists and would-be Sovereigns. That said, I believe it is in the realm of culture—more specifically, Entertainment Culture—where Anons, Truthers, Citizen Journalists and Commenters and Commentators often miss the forest for the trees.

While ‘the Right’ has done a fine—if somewhat overblown—job of exposing the Socialist Marxist agendas that have been infecting American school systems and Media discourse for years—and on an accelerating scale—I believe the realm of mass media entertainment, from blockbuster filmmaking to the publishing and music industries is too often left to the side in favor of the exploration of ostensibly ‘more important’ vectors of communication in this ideological, political and logistical war for the control of our nation and its people, for its heart and soul and mind.

For the three cannot be separated. Not in Man and certainly not in our Country.

And while ‘culture’ as a term comes up wanting when it comes to distilling a somewhat formless and shapeless identity with which to burden or define a nation as diverse in thought and temperament as this one, it cannot and should not be forgotten just how strongly the opposition—the subversive Globalists who have and would lord over us for time immemorial if we’re ignorant, lazy or resigned enough to let them—has sought to do just that.

And, dear readers, [they] have done a fine job of enforcing that cold, dispassionate, collectivist and deconstructionist ideology onto a growing plurality within the very American Mind we hope to bring along, kicking and screaming if we must, into the movement—into the era—we refer to as the Great Awakening.

‘Culture,’ in the context in which I use the term is a reference to a shared story.

As I have argued before, human beings map onto stories on both an emotional and psychological or cognitive level because we are designed or created in order to imprint and learn through the employment of empathy and understanding with our fellow Man. And that empathy and understanding is often most strongly achieved through the sharing and absorbing of stories.

Whether true or false, real or unreal, fact or fantasy, stories hold the power to influence, guide and ultimately, to either free or control a given Mind.

And that is quite a power.

It’s also one the enemy has recognized, cultivated and employed for years, wielding their financial and collectivist influence over the story-setting and paradigm-molding hive mind that is Hollywood, the music industry, the publishing industry and their foundational checks and balances within the Media Industrial Complex.

This has given rise to the immature, reactive and ultimately self-defeating mindset among many in our community that ‘story’ itself—fiction and fantasy—are pursuits either beyond our ability to influence or beneath us to try in the first place. And I believe that nothing could be further from the truth.

After all, if we do not engage with, challenge, influence and ultimately create the very stories our children, our youth and even our passive, malleable adult Minds take in as a means of escape, education and expansive and creative fulfillment, and that our Collectivist enemy—and even many of its ‘lost’ and self-perpetuating victims—thrust upon us, then how are we to expect to foster a shared culture with core foundational values, observational realities and movable, albeit consistent vernacular, understanding and intent?

How are we to chart a path forward as a free and open society built on the tenets of the freedom and sovereignty enshrined in the constitution if we are not writing a shared story using a cultural, moral foundation built upon consistent ideals, even if the form those ideals take is as varied as we are as a people?

Stories have the power to subvert and to corrupt, but they also have the power to teach, to move and to inspire.

And while this piece has started with something of a morbid or doom-tinged warning regarding the degradation of American culture—more specifically, of American storytelling—my purpose today, and most days is not to doom or fear-monger, but rather to unify and to shine light on a problem … and propose potential—and potentially active—solutions.

Thus, as we examine the belly of the entertainment Beast that is the Hollywood machine, a collection of collectivists masquerading as artists who’ve transformed depictions of heroism, valor, love, patriotism, ingenuity, cunning, wisdom and ultimately, struggle and triumph over evil into an inverted elseworld of hedonism, indulgence, deconstructionism and nihilism, we might see that the Beast at the heart of this dark period in America’s shared story shows signs of fatigue … even weakness, as the foundations of their subversive empire begin to crack, columns shuddering, arches quaking.

But first, in order to set the stage for the following (encouraging) data points regarding the seeming vulnerability of the Hollywood machine—and the communist entertainment zeitgeist as a whole—we need to revisit a core, foundational belief I’ve formed dating back to a piece I wrote last summer entitled, ‘Too Small to Fail.’

In that piece, I argued that, no matter how rocky or lengthy the path to get there, in the aftermath of two plus years of engineered lockdowns, artificial currency injection and big corporation and big government excess, the American Mind and Spirit would be directed either consciously, unconsciously or both toward the preservation, restoration and support of local, ‘small’ business. Back to each other. Back to the village, the town and the community.

I believed—and still believe—that the American people, Right, Left and Center have a natural tendency toward togetherness and belonging, and it is only through subversion and obfuscation that the System of Systems—that the Controllers—manage to convince us otherwise. And yet, even in that attempt, we can see that the very means of subversion and dishonesty [they] use relies upon that innate human desire to belong to something, to stand for something and to fight on behalf of a belief in something.

This need can be turned against itself, as American youth and those with more impressionistic minds can be molded into inverted belief systems regarding what is ‘good’ and what is ‘bad,’ what is ‘safe’ and what is ‘dangerous,’ and ultimately, what is ‘right’ and what is ‘wrong.’

The enemy has largely guided this corrupt campaign through intentional—and increasingly less subtle—social engineering in the form of the stories and themes presented through the most popular entertainment properties—the most popular stories—said youth engages with today.

From Star Wars and the Marvel Cinematic Universe to the top of the Streaming Charts, the recent American entertainment zeitgeist is not populated with the aforementioned archetypes of triumph and struggle against evil, but rather in the acquiescence to and even invitation of vanity and defeat, as if the Collective Mind is being guided toward an acceptance—even a desire—for collapse.

For chaos.

That said, as argued in the aforementioned piece as it related to the economic and financial boomerang I believe we’re just seeing the beginnings of with the Central Banking contagion and corporate mergers, consolidation often precedes collapse, as the largest—and increasingly hollow—mega companies and financial vehicles devour the weaker as they interlock mandibles in a race to the bottom reminiscent of an ant colony caught in a death spiral.

This same story is playing out across the entertainment sphere, as larger companies have continued to gobble up smaller ones in a constant hunt for existing Intellectual Property do to the Marxist subversive contingent’s inability to create something new without corrupting and destroying that which came before.

We’ve all seen it. Any who engage with or once held a genuine passion for a well-known piece of fiction has likely witnessed a ‘modern’ butchering of it in service of a sick and contradictory paradigm only a small, shrilly vocal minority among us actually craves in service of oversized egos and wounded psyches.

And yet, while many of us lamented such abominations in storytelling—from the male-less, feminist, cynical bent of the current run of superhero films to the ’destroy all legacy’ approach of Star Wars, to the utter masochism involved in subjecting oneself to Amazon’s recent bastardization of Tolkien’s Middle Earth lexicon, one of the defining works of fiction in the Western Christian tradition—we made the mistake of assuming these misfires and travesties in tale-spinning were the result of genuine attempts in the first place, while we now know such destruction and demolition of shared myth isn’t a ‘bug’ of the paradigm [they] would thrust upon us and our children, but rather a core, defining feature.

You see, it isn’t just Truth Community stalwarts such as the late, great Andrew Breitbart who recognized that “politics is downstream of culture.” This is something the Controllers have known since long before us.

They’ve been using stories to influence said culture for generations, only accelerating and escalating the programming inherent in their engineered stories in recent years due to the accelerated—and desperate—timeline the Trump Era, the Anon Era, the Q Era and the Great Awakening thrust upon them.

This cultural subversion and seeded mythic rot was planned long ago, but I firmly believe it wasn’t meant to occur over so short a period, nor to be pushed with so aggressive and repulsing a mindset by the entertainment vultures who would lord over us from their neon screens and once-curated, increasingly exposed and unhinged plastic personas.

The Real has come for the Realm of the Unreal, and it has largely done so because, just as politics is downstream of culture, the corporations that run the culture-poisoning machine that are the tendrils of the modern Hollywood spell are reliant on the same ‘easy money’ fiat Central Banking policies as the rest of [their] illusory system of usury and valuation.

When massive investment vehicles such as Blackrock and Vanguard are allowed to invest the 401k retirement accounts of tens of millions of Americans born in the 1940s, 50s and 60s into the mass media companies that own the intellectual IP the children of those generations imprinted onto in terms of modern myth, shared story and fantasy, said companies no longer need to favor profit over ideology. They were able to ‘lose’ at the box office and in the public marketplace of ideas because their profits were guaranteed.

But NOTHING is safe in the current monetary tightening-loosening Chinese finger trap the System is caught in, as explored in depth in my Operation Warp Speed and economic Macro theory duology, ‘The Spider-Man 2 Effect’ and ‘The Good Reset.’ ESG (Environmental Social Governance) investing is fading out of vogue among an institutional investor class increasingly leery of losing everything in a repeat of the 2008 financial crisis, while some states have elected to ban the investment of 401k accounts into such ideological financial vehicles altogether. Vehicles that have provided the very lifeblood to the stories plastered before our eyes every day, night and weekend across the land.

As such, many of the ideological, subversive decisions these American Psycho corporate overlords have made in recent years in service to the Marxist Globalist Agenda and in mockery of true creation and artistic integrity are coming back to bite them as waning box office dollars and dwindling streaming numbers come home to roost, and as once-proud titans in the entertainment industry collapse and beg for corporate consolidation they used to eschew with black-toothed sneers.

So then, what signs do we have before our waking eyes that the Cultural Contagion is beginning to slow, and that the Hollyweird Beast is beginning to tire, as represented by the den of debauchery disguised as delight known as the Disney empire?

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1. Disney recently announced the layoffs of over 7,000 employees across its entertainment divisions in the parent company, ABC, ESPN, Marvel Studios, LucasFilm and more. This is just the LATEST round of layoffs to hit a company that once—and very recently—seemed virtually untouchable due to its ubiquity in the minds and eyes of viewers of all ages. While this represents a small percentage of the total employee base of the largest entertainment conglomerate in the world, the news was met with shock in the entertainment sphere, as it is representative of tightening—also known as reality—in a company known for the suspension and corruption of just that.

2. The last several tentpole Marvel Cinematic Universe films, from Eternals to Ant-Man and the Wasp: Quantumania have severely underperformed to the tune of hundreds of millions in losses, once ballooning production budgets and bloated advertising campaigns are taken into account. These recent superhero films are pale shadows of their colorful, vibrant and even optimistic predecessors, featuring flawed, but heroic male archetypes fighting for the future of humanity, only to be replaced by bumbling caricatures that serve only to stroke modern feminist egos amidst incoherent mythic babble and noisy CGI sludge. Marvel isn’t the ONLY game in town when it comes to massive American fiction IP, but it is representative of the current entertainment zeitgeist, both its rise and its fall, and its sickness signals inherent weakness at the heart of [their] attempts at accelerated subversion and deconstruction.

3. Disney Plus, the streaming service launched at the height of the engineered COVID panic (convenient, wouldn’t you say?) has posted its first subscriber loss at the tail end of 2022 in the project’s short history, and has yet to turn a profit for the company. While the second point is not a rarity in the modern streaming world, where combined production budgets and content glut tends to front-run any future attempt at profitability, the fact that it only took the streaming giant two years to post subscriber losses while Netflix managed to go without it for more than a decade is a canary in the coal mine for a company largely dependent on a shift to a digital story pipeline in the modern age.

4. LucasFilm (Disney subsidiary and holder of the classic Star Wars franchise IP) producer Karyn McCarthy recently launched a lawsuit against the company for failure to pay out alleged fees to the tune of half a million dollars. While this may seem rather inconsequential to a company that values itself in the tens of billions, the fact that McCarthy’s lawsuit followed news of streaming production delays, movie cancellations and project shuffling, and went so public in the Hollywood trades—along with accusations that the compensation Disney offered the exec was less than most of us plebs earn in a year-end bonus—has put even more egg on the face of the Bob Iger-led (and crumbling) company at a time they can ill afford bad press.

5. This news preceded the more seismic shake-up represented by the ‘announced departure’—and later, the admitted firing—of Marvel exec (and No. 2 at the company) Victoria Alonso, one of the wokest of the woke among the Hollywood elite, who presided over the company’s recent slate of subversive drivel amidst a cascade of financial and creative failures. Alonso’s firing was big enough, but it was followed by bold—and vague—accusations by her lawyer, who has promised to follow in McCarthy’s footsteps by launching a lawsuit against the company that bought her and brought her to the dance in the first place. The fact that Alonso was an outspoken ‘advocate’ in keeping with current trends, and that Disney still felt compelled—and emboldened—to fire her in the sociopolitical climate they helped to foster does not bode well for other communist clowns occupying the halls of creative power in the entertainment ether.

6. Jonathan Majors, Hollywood’s newest darling ‘it’ leading man, and the actor cast and poised to be the new major, overarching villain of the current, ten-year slate of Marvel storytelling, was arrested on March 25 and later charged by a NY judge with assault, attempted assault, harassment and aggravated harassment stemming from an alleged altercation with a female partner. Majors has been pushed harder than any other leading man in the woke empire in recent months; his arrest has the entire industry—including its bought and paid for punditry—at a rare loss for words, and it has put the leading entertainment brand in the world at a crossroads, as Marvel’s shared universe storytelling style is dependent on lynchpin characters, and the actors who play them.

7. The Mandalorian, the tentpole piece of Star Wars streaming content responsible for single-handedly floating a brand that had been utterly decimated due to the plunging box office trend of the Star Wars sequel trilogy, has posted its worst viewership numbers in its history, despite breathless promotion and supposed hype. No more manufactured enthusiasm. No more false hope. No more brand.

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While these data points are only representative of one company and a few brands, they are signs that even the biggest and seemingly strongest among the False Reality (h/t Chris Paul) engineers and magicians can be laid low if the failures pile up, and if the crises begin to cascade in a manner reminiscent of the financial System of Systems that backstopped it all in the first place.

In recent years, Americans have been forced to witness a War ON Stories.

Lately, it seems that war has shifted from page to pen, story to storyteller, box office to brand.

The War ON Stories is coming to an end, slowly but surely, as [their] System crumbles around them.

The War FOR Stories has yet to begin. But I look forward to waging it, and when the time comes, I hope you’ll join me in doing so.

The world needs stories and storytellers. The world needs truth AND fiction, real AND unreal, as long as the core of each lies in the intent to better ourselves and the world around us, to teach, and to inspire.

We are made of stories. It’s time we got back to making them.

Until next time, stay Positive, stay Based and most importantly … stay Bright.

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