Moonraker (1979) and The Breakaway Civilization Disclosed

moonraker

Film promo poster. Beware floating Richard Kiel. Eegah!

By: Jay Dyer

I’ve been invited to speak at the Secret Space Program Conference in Austin, Texas October 31-Nov 1 on the theme of predictive programming, Hollywood, and the notion of the breakaway civilization. (If you’re interested in attending, type the code sspdyer2015 here for a discount).  A notable example of this concept in film is the 1979 film adaptation of Ian Fleming’s Moonraker.  I have highlighted this breakaway theme in numerous instances, such as films like Interstellar, The Box, Brave New World, 2001 and novels like The Passage or Atlas Shrugged.  Moonraker the film differs significantly from the Fleming’s novel, but the differences and parallels are important to highlight: The novel focuses on a kind of Operation Paperclip scenario where Sir Hugo Drax is secretly building a V2 rocket in tandem with the Nazis to destroy England and rebuild the reich.   I think for many, the film adaptation a few decades later represented an exceedingly outlandish interpolation on a pulp spy novel that failed to achieve much more than mimic the box office success of science fiction blockbusters it attempted to copy like 2001 and Star Wars.

On the contrary, I would posit more is at work here than just putting 007 into a Star Wars laser battle setting.  The most obvious thing to recall is that 1979 is roughly the birth of the Star Wars Defense Initiative (born at Bohemian Grove), where plans would be posited for a DARPA-style space-based weapons system in the vein of Skynet would be drawn up.  Thus, concurrent with this deep state initiative concocted under the auspices of the Cold War showdown with the Soviets, the Tesla-esque satellite decapitation and directed energy weapon scenarios that would become the Skynet/Smartgrid Internet of Things we are witnessing today.

In tandem with the decades early planning would be the predictive programming in Hollywood blockbusters to prepare that generation for the implementation of that grid, such as ARPANET (the Internet) in the near future.  Thus, my thesis is that Moonraker the film represents the second phase of the Operation Paperclip/NASA program that birthed the rocket and “UFO/foo fighter” aerospace technology we see today.  In other words, the 1954 Fleming story Moonraker is phase 1 of the same “space program” that Moonraker the film is phase 2 of, and that is the deeper reason for the sci fi trajectory of the updated narrative.  Recall as well that, by the late 70s, 007 was already the largest film franchise, so we can expect it to have been crucial in preparatory induction for the coming technological age.  (The novel’s plot is very similar to Guy Ritchie’s recent Man From U.N.C.L.E., too).

Drax's Underground Base.

Drax’s Underground 70s Disco Base.

Mention should also be made of Diamonds Are Forever, which I recently analyzed as giving us clues regarding the private aerospace program through the film’s use of Willard Whyte as Howard Hughes.  Diamonds Are Forever contains the famous scene of a faked moon landing utilizing actors and a sound stage in a desert facility owned by Whyte (Howard Hughes), while real aerospace technology was being developed behind the ceil of the NASA/Hollywood façade. Concerning Diamonds Are Forever, just like Moonraker, we have the revelation that the real space program is a private space program, not the public “government” front institution known as NASA.   Keep in mind that Howard Hughes was not only an aerospace engineer, but also a Hollywood film director, which suggests Fleming and his film incarnations reveal much more than is generally supposed.  I wrote concerning Diamonds (note as well the theme of directed energy weapons, a central aspect of the Star Wars Defense Initiative):

Sci Fi Spy! 007 in space...or, not. Bond in Whyte's secret space facility in Diamonds Are Forever.

Sci Fi Spy! 007 in space…or, not. Bond in Whyte’s secret space facility in Diamonds Are Forever.

“When we consider Hughes’ close connection to the CIA through operations like Project AZORIAN, which sounds just like a SPECTRE-style operation from a 007 film, we can certainly presume much more was being conveyed here. Even questions relating to the moon mission arise, given the seemingly out-of-place shot of Bond stumbling across a sound stage in Hughes’ facility, where actors in astronaut suits are staging a phony lunar landing. Is Fleming implying that the moon mission itself was a psychological operation? Speculation is welcomed here, but the real message of Diamonds centers around exotic weaponry along directed energy lines. The same theme re-emerges in the 1974 film adaptation of Fleming’s The Man with the Golden Gun, where alchemy and techne combine to reveal the Pentagon’s darkest future tech. Given that Jackie married Aristotle Onassis just five years after JFK was gone, could this signify a mafia-mandated marriage tradition? Perhaps Fleming knew the answer about this and the real SPECTRE.”

Thus with Moonraker, the most ridiculous and silly 007 film, all the obligatory puns and innuendos so characteristic of the Roger Moore era serve to mask a rather profound secret pertaining to the overall deep state agenda.  In the plot we discover Hugo Drax has stolen a space shuttle through his German underlings to reverse engineer the technology for his nefarious machinations.  Meanwhile, 007 is on his trail battling the laughable Jaws (Richard Kiel) in mid-air as Jaws loses his parachute, plummeting into a circus tent.  At first, I was tempted to brush this off as pure absurdity common to the Moore era, but comparisons to Diamonds Are Forever began to emerge, the circus theme of Vegas functioned prominently there, as well.  My speculation is that both films are roughly parallel, describing the same themes and events – a private space program that operates under various fronts and shells, intent on cornering the market under a shadow government corporatocracy (SPECTRE), intent on mass depopulation and the creation of a “new world,” modelled after Noah’s Ark.

In both films our respective villains also work together with the mafia and criminal underground to achieve their designs, with the various mafias functioning subservient to the overriding, internationalist SPECTRE.  Even though Drax is not a member of SPECTRE like Blofeld, the principles are all the same.  Blofeld’s jewel theft and casino/aerspace takeover operation perfectly mirrors Drax’s technological theft and private aerospace company, with various shells and fronts funding the machinations of both “fictional” oligarchs.  In fact, the Moonraker facility Drax runs resembles NASA and other deep state facilities, yet is not the real Drax aerospace facility.

Astronauts on wires.

Astronauts on wires.

An interesting parallel should also be mentioned here in regard to Bond slipping into Drax’s facility, where 007 discovers a keypad that plays a certain series of auditory tones to access the bioweapon lab.  The musical tones just happen to be the same as the famous musical tones the “aliens” play in Spielberg’s Close Encounters of the Third Kind.  This could be happenstance or due to Spielberg’s connections to the Bond films, which are numerous.  For example, think of the bird scene in Last Crusade or the Temple of Doom scenes in India, lifted from Never Say Never Again.   It could also be that the musical tones in Close Encounters are a subtle clue include government news fakery and a secret space program, as I detailed here, and Close Encounters opened two years earlier, in 1977.

I see chicks...space booty!

Eye spy chicks…space booty!

Rather, Drax has constructed a secret facility underground beneath a ruined temple in Argentina where a bevy of multi-racial beauties entrap Bond in an Edenic battle with a massive boa constrictor.  The scene is purposefully reminiscent of Eden, and as Drax predictably brags about his plot to 007, we learn he is a radical eugenicist with distinctly dysgenic plans to genetically modify the black orchid to produce a lethal nerve gas that will depopulate the globe.   Argentina and Columbia are said to have been havens of post-war Nazis through sites like Colonia Dignidad, yet Drax is no Nazi.  He does plan to create a “master race,” yet his approach is more so Fabian, as he has sampled the most fit and well-bred from all the races.

In a telling scene in space, 007 explains to Dr. Goodhead the real plan is Noah’s Ark – a breakaway civilization.  Drax intends to become “a new god, whose progeny will all call him the new man, the new creator” through technology as he will re-seed the earth with his offspring, descending from the man-made “heaven” of the Moonraker, Drax’s covert space facility.  All the images are purposefully from Genesis, from creation, Adam and Eve, to Noah, with Drax as the representative Promethean/Luciferian figure who intends to use the secrets of nature and ancient mysteries (the Temple and the Genesis account) to become god with a genetically modified, superior race of immortal offspring – transhumanism.  In this sense, the meaning of the vanished ancient civilization of Argentina is explained as resulting from the sterility of the black orchid.  In his design the black orchid has been redesigned in its chemical makeup (genetically modified) to become highly lethal, through which he will aerosol spray the major city centers (chemtrails).

Hexagonal cube of Drax Aerospace. Representative of the molecular makeup of Drax's bioweapon.

Hexagonal cube of Venni Glass, a front for Drax Aerospace: Representative of the molecular makeup of Drax’s bioweapon.

This is the secret behind the Drax’s corporation’s hexagonal logo for their glass company, which was rather a front for bioweapons research.  As many have pointed out, the cubical/hexagonal figure specifically pertains to the molecular level of our physical dimension.  It is the mastery of this physico-material level of existence that Drax’s scientism is based on, and rather than a barren rationalistic scientism, Drax is revealed to be a believer in mythology and transhumanism.   Drax is thus emblematic of the real technocratic oligarchs of our day who, behind a guise of New Atheistic Dawkinites, are actually committed to the breakaway civilization idea of wiping the slate clean and starting over in a Noah’s Ark sense.  Think here of Bill Gates involvements – he has vast interests in aerosolized geoengineering, DNA manipulation, vaccines and alteration, Monsanto and transhumanism, as well as his infamous arks of seed vaults.  He sounds like Hugo Drax.

Blonde Argentinan Amazon Space Baebes!

Blonde Argentinan Amazon Space Baebes!

When we consider the fact that many of the big tech heads like Bill Gates, Peter Thiel or Elon Musk all make public statements warning of the dangers of technology and the “A.I. takeover,” we can’t forget they are also busy in their promotion of transhumanism.  Indeed, Musk runs SpaceX, a private space company and is also a proponent of transhumanism.  It is my contention that much of what we are seeing is a façade, a front plastered before us by the Hollywood elements of mass media, while the real space program has operated privately, in secret, with the subtly revealed intention of creating a breakaway civilization that echoes the predictive programming we see in films like Moonraker, or novels like Atlas Shrugged.   It is precisely because these plans seem so far-fetched and aspects of popular fiction that the mass public could never conceive of them as real, yet dysgenics operations are very real, very public disclosures.  Perhaps Hollywood has also disclosed the other side of that story – the plan for a breakaway civilization.

007 battles the serpent in his Edenic Amazonian honeytrap.

007 battles the serpent in his Edenic Amazonian honeytrap, as Drax seeks to create a New Eden in his breakaway civilization.

 

DrinkYourMushrooms

9 thoughts on “Moonraker (1979) and The Breakaway Civilization Disclosed

  1. Isnt it wonderful the supreme Ensephalons with Space in the Brain want more Space. Is this Genetic Ensephenitus gots em or is their Pied Piper returned to reward them!? I hope
    Skip and jump!

  2. Oh, I think you should check out the end. I think Dolly has braces in the end of the movie and that might be what people remember. So it was more prominent in the end so people think they remember it at this cut. It is also possible that she had them in the original movie but when it was later released on video there may have been a recut. With a different version where she doesn’t. Honestly I don’t remember there being a significant close-up of her when I saw the film before. Maybe also there is a director’s cut or an issue with remastering it for DVD. Maybe she didn’t in the original print and the braces were added post production and on the release it was missed? So my opinion is that there was no closeup in the theatrical release, probably because she didn’t have them when they filmed the scene. Then later due to continuity where she had them this scene got cut. But now that it was remastered for DVD from the original negatives that seen was not removed. Now also think of this, in this scene Dolly is an incredibly beautiful woman, with an excellent figure. But in the end when it became clear that both Dolly and Jaws are not “perfect” they switch sides and help 007. So in the end she needs to be perceived as “unattractive” for that scene to make sense. They probably decided to give her braces to “uglifiy” her. Resulting in the cut of the final film. Everyone just incorrectly remembers the movie. They remember then end and transpose it to this scene.

  3. Just rewatched it. She does not have braces anywhere in the film. The way they used to make her “unattractive” (i.e. “not perfect”) was to change her makeup (pale lipstick, etc.) not add braces.

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