By: Jay Dyer
Appearing to conclude the Daniel Craig 007 reboots, SPECTRE has not just premiered to a no. 1 global status, but as could be expected, also gave quite a few insights into the nature of real geopolitics and espionage that only the Bond films can do. Here at JaysAnalysis, I had a suspicion a year ago this is what we would see with SPECTRE, particularly given the so-called “leak” of the plot as part of the Sony hacking scandal that was more accurately described as a Rand-corporation designed marketing scheme, connected with the staged drama of Seth Rogan and James Franco’s release of The Interview. In fact, The Interview was not an offense to the rogue nation-state of North Korea, quite the contrary: I have long argued North Korea is a fake state – a complete CIA puppet villain, with no ICBM “space program,” and certainly no real nuclear threat.
Concerning the SPECTRE/Interview Psy Op, analyst Patrick Henningsen commented:
“At last, an international cause that Hollywood can finally rally around – together in solidarity! It’s what we all have secretly wished for – that Team America’s plot line has finally gone operational. If this latest crisis demonstrates anything at all, it shows how Hollywood and North Korea have more in common than they realize – both are really big on theatrics, but not very big on substance.
What George Clooney might not know, and what history shows, is that North Korea’s bark is much worse than its bite. So in terms of a national security threat to the US, it’s somewhere between nil and nonexistent.
Most US media outlets managed to spin the Sony hack into a piece of national security propaganda – stoking fears of a “mysterious” North Korean hacking group, ‘Unit 121′. No surprise then that the charge originates from the US government itself, whose own General Bureau of Reconnaissance “suspects” the North Koreans were behind the attack on Sony. If you believe FOX’s Shepard Smith, you’d think that this was something along the lines of SPECTRE or SMERSH, but it’s more likely just another exercise in creativity from CIA’s propaganda desk in Seoul, alongside other imaginary figments, dreamed-up by the State Department like the ‘feared’ Khorosan Group. If this were a creative writing class, they’d all get an A+, but sadly it’s not.”
Indeed, even The Guardian has commented on the similarities of the SPECTRE plot with the supposed leaks of Edward Snowden regarding the NSA spying apparatus, yet keep in mind that I have questioned the Snowden heroics, as well as the fact that GCHQ was surveilling the population and spying long before there was any NSA in the US. Furthermore, the real NSA is not some government building, but in fact the largest tech corporations, like Google and Apple. The notion that the NSA is a government-run entity which has gotten out of hand from public oversight is preposterous, as the private globocorps have been doing the real dirty data collecting for decades (and continue to do so, apart from Snowden’s so-called “leaks”). All of this will be relevant, as we will see, in reference to the plot of Sam Mendes’ latest installment of 007’s adventures, SPECTRE.
With SPECTRE, we open with a long, single shot of Bond disguised in skeleton costume amidst the celebratory festivities of Dia de Los Muertos in Mexico City, smoothly striding through the streets with babe on arm, stalking the movements of a certain Sciarra. The scenery elicits numerous demonic elements, including devil masks, effigies, corpses, and Santa Muerte. Santa Muerte is the cartel-connected syncretistic cult often associated with MS-13 that analysts have noted operate both human trafficking and drug corridors. Some have even argued the U.S. intelligence establishment is in bed with certain select cartels, with intent of controlling the black markets, while only “busting” operations of rival cartels not in bed with the Atlanticists. We even saw elements of this in the Fast and Furious arms scandal, as well as in the recent film Sicario, where FBI agents discover their attache role in a border operation is cover for a deeper CIA black op of taking out a rival cartel.
In Mexico City, 007 gets hints of Sciarra’s involvement with the cartel underworld as the plan to bomb a professional soccer match is planned. 007 determines to take out the conspirators, ending up in an impressive helicopter battle with an escaping Sciarra. Eliminating Sciarra at the behest of a secret, posthumous message from M (Dame Judi Dench), the only information Bond recovers is knowledge of a planned soccer match attack, and Sciarra’s curious Octopus ring. Also worth noting is the room 007 uses to work his mojo on the Mexican beauty before this operation just happens to be Room 327 (or 237), which echoes the speculative documentary about the secret messages in Stanley Kubrick’s The Shining. While this is admittedly speculative, there is a connection between the real meaning of the “secret space program” I recently lectured on, Room 237 and Jay Weidner’s work, 2001: A Space Odyssey, and the present film, SPECTRE.
“The dead are alive,” the opening text of the film displays, and as the narrative progresses, we discover the meaning of this clue to be the same theme of the recent Mission Impossible installment, Rogue Nation, that the members of the (variously titled in most spy franchises), Syndicate, Cabal, SMERSH, MAD, SPECTRE, etc., tend to be ghosts. In the spy world, a ghost is a spook, and spooks are specters, who appear to be dead. As I have covered in many reviews and interviews, a great way to become a ghost is to fake your death and the CIA has a long history of doing this, as well as Soviet intelligence.
The iconic opening montage for SPECTRE hearkens to the prior 3 Craig Bonds, with all the villains of Bond’s past appearing in shattered glass fragmentation, emblematic of the psyche and the assassin’s traumatic past. From Vesper Lynd to Mr. White, 007’s rabbit hole leads to the enigmatic cartel organization SPECTRE, symbolized by the octopus whose tentacles seemingly reach everywhere, even into Bond himself, as the source of all his ills.
Encircling the montage babes in a strange tentacle-porn imagery, the octopus morphs into an All-Seeing Eye that here will represent the panopticon surveillance state at the heart of the film’s narrative. Furthering transforming, the eye becomes a massive octopus with nine eyes, later explained in the film to be the “9 Eyes” of a rough equivalent of the G8 nations (here G-9) that offer their sovereignty up to the promise of security from CNS, the new UK version of the NSA intent on integrating mass surveillance from the most powerful nations. (Recall that the G6, G8 and G20 are creations of the Atlanticists and the Royal Society.)
Promising to prevent all future terror attacks and shut down all dated, dinosaur humint programs, the “00” licensed to kill program is also axed, resulting in the predictably rogue 007. Injected with SmartBlood (yes, nanotech SmartBlood), the outdated tech wizardy of the implantable chip Bond received in Casino Royale is replaced with its newer transhumanist equivalent. Tracked and traced globally, 007 is in debt to Q to keep his location secret as 007 seeks the answer to Sciarra’s backers in Rome. After seducing and romancing Sciarra’s widow (a youthful looking Monica Bellucci), Bond sneaks his way into the elite SPECTRE board meeting that recalls Bill Harford’s (Tom Cruise) out-of-place attendance at the Eyes Wide Shut ritual.
Known immediately by the mysterious head of SPECTRE, Bond is called out as if he were intentionally led to the meeting (like Bill Harford) and subsequently chased from the premises. The location of SPECTRE in Rome is curious, as if this were some underground fascist cabal of unknown mobsters and enigmatic Third World and Far Eastern villainy gathered in the heart of global Catholicism. Could this reference P-2 and the infamous associations with Operation Gladio and the terror cells of the Cold War stay-behind units that I argue are the model for the recent waves of Euro-terror (including the Paris attacks)? Interestingly the most striking example of predictive programming in the film’s plot is the revelation that global terror is being orchestrated by a single shadow cabal. This cabal is also intent on bombing nation states behind a façade of radicalism that do not go along with the joint intelligence apparatus being erected by the private “space program” of our film’s super villain, Ernst Stavro Blofeld. As SPECTRE manages to appoint its Number 2 (“C,” played by Andrew Scott) as head of the new CNS surveillance initiative, the screenplay subtly refers to the plan as the culmination of the “new world order.”
In fact, while many perceptive film-goers probably caught the numerous references to the Connery and Moore-era installments, the most interesting aspect of Blofeld’s secret base in the desert of Morocco is its observatory and aerospace features. Once again, as with Diamonds and Forever and Moonraker, the private space program has an ulterior motive than noble advancement of scientific knowledge. Here, as with old school Blofeld plots, we learn his aims are not even a Star Wars Defense Initiative, but the backdoor PROMIS Octopus technology that even Wired magazine has covered as relating to the NSA’s ability to hack into most tech. And this is precisely what Blofeld is after – a total panopticon surveillance apparatus that is erected as a result of the engineering of global terror attacks, run by a private, unknown command center. This is real, and not only that, it is the ultimate plan of the new world order, as I have argued in numerous articles the last 5 years. Researcher and author Daniel Estulin has even highlighted this notion in his appropriately titled book, The Octopus Deception.
Curiously, while eavesdropping on the SPECTRE meeting, 007 finds that the planning group recalls something along Bilderberg lines, where decisions are made concerning human trafficking, the management of various vices like prostitution (using a large number of refugee/migrant women), the counterfeiting of pharmaceuticals (as if BigPharma itself isn’t a tentacle of the real SPECTRE) and the planning of a bombing in South Africa to terrorize the populace into signing onto the global privatized surveillance plan. Throughout, the presentation of MI6 is as the guardian of western liberty and “democracy,” while the more eastern and fascist elements of SPECTRE are portrayed as enemies of the people. Never tiring of playing out this propaganda, the Cold War subterfuge of the West still banks on its mythology of being a bastion of “freedom” and “liberty,” as if these were nonexistent elsewhere.
This Anglo-centric model is by no means exposed in the film, inasmuch as it is western banking and corporate elites who are the real SPECTRE. Never tiring of generic sloganeering, western propaganda and marketing hasn’t altered one iota since Bernays. Moreover, the western narrative of libertarian Enlightenment freedoms ring ever more hollow in our days as it becomes increasingly evident how absurd this phraseology is, where the supposed “free” West becomes a mutant version of Brave New Disney World, all under the designs of the very establishment that professes empty mantras of “freedom.” Freedom means the freedom to choose Coke or Pepsi, sterilization through GMOs or cancer through euthanasia – all choice delicacies of the decadent Atlanticist elites.
Seeking the supposed dead Franz Oberhauser, Bond finds his own foster-brother to be the source of his ills, as the darkest secret of 007 is his own background – he was raised as an orphan by Blofeld’s father. Blofeld , full of ressentiment, decides to work out his daddy issues through (as you can imagine) torturing Bond by strapping him down and drilling his skull for a full-scale MKULTRA style mind-wipe. While SmartBlood may or may not be a reality, the targeting of certain areas of the brain to erase memories and motor functions is very real. DARPA has openly discussed such projects many times under the guise of “treating addictions” or “traumas” and PTSD. DARPA wants to help you, just like Pine Gap exists to “research space” and not mass surveillance, just like SETI exists to send space emails to aliens with X dollar satellites, not mass surveillance (my own particular speculation).
Facing Blofeld, Bond learns the secret base is the site of a meteor crater where the oldest meteor is Ernst’s private property. Likening himself to the obsidian Kaaba-like stone, Blofeld explains the meteor is an allegory for his own secret space surveillance system that will utilize the information from all surveillance satellites, CCTVs and tech gadgets globally. This is SPECTRE’s big secret, erecting the global surveillance panopticon around staged terror events, erecting a total information grid that will allow for the blackmail of all. Does this sound familiar? Is it possible that in the real-world globo-terror is also orchestrated precisely for this purpose? That is the thesis of JaysAnalysis, and hopefully it is becoming increasingly evident this is so, as more and more films begin to tell us this very story.
Most strikingly, as I argued in my Casino Royale analysis, the 007 reboots seem to continually hearken to clues about 9/11, such as the pre-9/11 airline stock put options. From there, we move to Quantum of Solace exposing the Green Agenda and the left-right dialectic, to Skyfall showing us the fact that so-called cyber-terrorists are the system itself (as per the similarities of the plot of Skyfall with the Sony “hacking” scandal), and in SPECTRE yet another false flag references to 9/11 is hinted at in the “inside job” bombing of MI6 through a massive controlled demolition. Now, whatever means you think took down the twin towers (and building 7), whether controlled explosive charges or exotic weaponry, it certainly was not jet fuel.
It certainly was some form of controlled demolition, as the towers were demolished, and this was controlled by some artifice other than “Al Qaeda.” Curiously, this is exactly what Blofeld does when he gains access to MI6 through placing his mole at the head of the CNS. Isn’t it interesting that the first thing Blofeld does is lure 007 into the MI6 tower, intending on demolishing him and the old world with? 007 escapes, of course, but I would venture to say the film is not telling us about the demolition of MI6 headquarters, but the destruction of some other tower by SPECTRE.
ESOTERIC HOLLYWOOD WITH JAY DYER: SPECTRE AND THE PARIS ATTACKS
Esoteric Hollywood is Jay Dyer’s (from JaysAnalysis.com) deconstruction of the deeper messages, symbols, and predictive programming subtexts that underlie modern film, including interviews with artists and experts in numerous media fields. Based on years of research into film analysis, comparative religion, propaganda,psychological warfare, secret societies and mind control, Esoteric Hollywood decodes the biggest movies in an unparalleled way, from the classics of the silver screen to today’s blockbusters. Learn to watch film with completely new eyes, as philosophy and conspiracy combine to enlighten the arts and awaken the masses. Support my show by purchasing your organic products and supplements from Natural News and Talknetwork’s store featuring over 500 lab-tested products.
ESOTERIC HOLLWOOD AIRS EVERY TUES-FRI NIGHT AT 10 PM PACIFIC ON TALKNETWORK.COM
Show Archives are here.