Hollywood Babylon: Sex, Cults & Symbols in Film With Jay Dyer

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West of the Rockies Radio

Jay’s back at it again, this time joining us on West of The Rockies to talk about his new book, Esoteric Hollywood. With so much information packed into the book, we set out to focus on a select few movies, namely, The ShiningRosemary’s Baby, and Close Encounters of The Third Kind. Of course, this also meant delving into the minds of Stanley KubrickRoman Polanski, and Steven Spielberg, the directors of those movies respectively. We also analyse the wider impact and scope of movies, as pertains to the actors involved; possible government or power connections; and, of course, the effects on the public viewers.  As usual, there was a lot to be said, and too little time.

The masked ball scene from Eyes Wide Shut (1999) Related: Examining The Esoteric Themes Of Kubrick's "Eyes Wide Shut" with Jay Dyer.

The masked ball scene from Eyes Wide Shut (1999) Related: Examining The Esoteric Themes Of Kubrick’s “Eyes Wide Shut” with Jay Dyer.

We interviewed Jay back in June of last year, focusing mainly on Kubrick’s Eyes Wide Shut. For those of you that haven’t listened to that show yet, or perhaps would like more of an introduction into Jay’s work, head over to our article, Examining The Esoteric Themes Of Kubrick’s “Eyes Wide Shut” With Jay Dyer.

Is Hollywood really as glitzy and glamorous as it advertises to be? Is it just a façade for something much darker, hiding something far more nefarious and wide-reaching than we realise? It has long been known that the lure of Hollywood stardom can turn a good person bad, and poison even the purest of souls. What is the real motive behind the many evils we hear of, the doped-up stars gone crazy, the apparent secret and/or subliminal messages in movies?

Scene from Rosemary's Baby (1968) written and directed by Roman Polanski.

Scene from Rosemary’s Baby (1968) written and directed by Roman Polanski.

Of course, the Illuminati, government and CIA, as well as religious/cult involvement are always terms that pop up in discussions such as these. To what extent are these various entities or enterprises really involved in the film industry? Are movie directors puppets just as much as actors and pop-stars have often been thought to be?

The recurrent surrealistic themes of the aforementioned movies are certainly not to be dismissed, especially the common motif of a storyline that blends reality with fiction, waking states with dream sequences. In essence, they’re all pretty “trippy” movies, and that should not go unnoticed. Are they trying to inform us of something going on behind the scenes? Perhaps in Gorvernment? Preparing us for some sort of revelation or disclosure? Mass mind-controlling us, perhaps via various frequencies, subliminal messages, and even obvious messages? Alas, is that not what powerful propaganda and stringent censorship is doing in many nations right now even, and certainly in the past, e.g. Hitler’s Germany? Or….right here?

Scene from Close Encounters of the Third Kind (1977) written and directed by Steven Spielberg.

Scene from Close Encounters of the Third Kind (1977) written and directed by Steven Spielberg.

Of course, we can’t omit the topics of MK Ultra and aliens in a discussion such as this. How might film play a role in the creation of mind-controlled (or “kontrolled”) victims? And how does this tie in to alleged alien encounters/UFO abductions? Do the ideas overlap? Are they both forms of mind-control, using trauma and screen memories to make the victim believe certain things, or cause them to have certain characteristics or abilities? It’s certainly no new theory that those experiencing bizarre or paranormal events may be the subject of false screen memories. Once again though, if this is indeed the case, we need to ask ourselves: to what ends?

We also briefly touch on something a little closer to current times, namely Stranger Things (the recently released science fiction-horror web series starring Winona Ryder) and the advent of a new age of entertainment where a “perfect” TV show or movie can be generated via an algorithm. Indeed, the writers working for Netflix are said to have used the huge amounts of viewer data and various algorithms in creating the storyline for last year’s paranormal TV hit (I say TV, though most people are probably watching these types of shows on their computer). The same goes for other Netflix originals. With that in mind, what does that mean for us, as viewers? Sure, on one hand, it’s great to watch something that is essentially guaranteed to be good, if not amazing. On the other hand…what other doors does this open? If the television and film industry is already digging this deep into our preferences, our lives, our minds, what else could they achieve? Or what are they already doing? The possibilities are vast, and often scary.

Needless to say, we also throw in some Scientologyreferences (L. Ron Hubbard’s influence in Hollywood, even to this day, cannot go without mention), and briefly look at how Aleister Crowley and Jack Parsonsmay have played a role in this scene (no pun intended…or maybe it was).

We hope you enjoy the interview – allow yourself to be taken on a little tour through Esoteric Hollywood.

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2 Comments on Hollywood Babylon: Sex, Cults & Symbols in Film With Jay Dyer

  1. Jay, thanks for the reference to Plato’s dialogue Ion. Do you have a favorite modern translation of that and other dialogues that you could recommend? I’m thinking specifically of a writing style that’s similar to Eugene Peterson’s “The Message,” which was a revelation to me stylistically. Also, you mention so many books and thinkers in your podcast — do you have a bibliography of recommended reading? Thanks for the excellent work.

  2. If America is a society that is being processed by some occult naturalist doctrine, then, from a traditional Christian perspective, it has to be recognized that much of the culture industry is a malefactor because it is intentionally leading the masses of people into apostasy.

    Recall James Shelby Downard’s “King Kill 33 Degrees” where he states that the accomplishment of the Third Law of the Alchemists is Making Manifest All That is Hidden and that had yet to be accomplished when he was writing. (The first two laws were accomplished through the nuclear bomb and JFK Assassination Killing of the King ritual.)

    That means that even by exposing the hidden manipulated psychodrama that “works through every mass organization of man,” we are in fact helping the alchemists achieve their ends. As Downard stated at the end of “KIng-Kill:”

    It must be recognized that even the revelations that the populace has been hoodwinked will desensitize them and they will sink lower and lower as they discover the extent to which they have been duped and they may, reactively, search for a ruler or drug to put them asleep, to make them less aware.

    That has been happening in America for a very long time now. It is, in my opinion, the very core of the ennui and destruction that occurred in the Sixties and Seventies

    To combat this sinking lower and lower, this inevitable realization which will depress and weaken the will, Downard suggests that the Revelation of the Method as a double-edged sword must often be repeated, and especially when unmasking the doctrine that rules over us.

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