Hollywood has become a name synonymous with the entertainment industry. The Los Angeles suburb of Hollywood has been dubbed the ‘entertainment capital of the world’ and with good reason—the industrial age technological wonder of ‘moving pictures’ has evolved into perhaps the 20th century’s most pervasive social phenomenon. A quaint mechanical novelty invented in 1893 by Thomas Edison has since spawned a multi-billion dollar corporate industry that produces visual entertainment that now  defines our global population’s collective perception of reality—a feat of genuine MAGIC!

Hollywood History: [From video: The Golden Age of Hollywood]

“Hollywood is a district in Los Angeles, California situated northwest of the downtown core of LA. Due to its fame as the historical center of moviemaking, the word Hollywood is often used as the term for the American cinema industry. In the late 1800s Thomas Edison developed the first camera called the ‘Kinetoscope’. He enforced his patents with outrageous fees, which spurred the growth of the movie industry west away from New York.

By the early 1900s filmmakers headed to California due to its dry climate, predictable weather and far from Edison’s patent control.

A popular myth is that the name ‘Hollywood’ traces to California holly that covers the hilltops of the area. It was actually coined by a man named H. J. Whitley—the ‘father’ of Hollywood. In the late 1890s he purchased a 500 acre area from a man called E. C. Hurd and planned to create a town—Hollywood.

Whitley opened the famous Hollywood Hotel in 1902. He built the hotel to attract land-buyers to the residential area. The Hotel eventually became internationally acclaimed and was the center of social life of celebrities for many years.

D.W. Griffith was the first to make a motion picture in Hollywood. Called, In Old California, it was a melodrama about California in the late nineteenth century when it was still a part of Mexico. It was completely filmed in the town of Hollywood and was released in theaters in March of 1910. Because of an ongoing struggle for an adequate water supply Hollywood became part of the city of Los Angeles in 1910 as the water system in LA would be more than adequate for the area.

By 1911 Los Angeles was second only to New York in motion picture production. By 1915 the majority of American films were produced in LA.

By 1920 Hollywood had become famous as the center of the movie industry. The Golden Age of Hollywood began in 1927 when the movie The Jazz Singer was released. It was the first film to include sound marking the end of the silent film era.

Things were slow to start at the beginning of Hollywood’s Golden Age due to financial troubles caused by the Great Depression, however studious were able to produce outstanding movies that provided an escape for audiences in the struggle of the depression. Films began to be produced in large numbers.

Some of Hollywood’s most memorable classics were created during the Golden Age that included films like Gone With the Wind, The Wizard of Oz and Walt Disney’s Snow White and the Seven Dwarves. There were five major studios in the movie business called the ‘big five’ they were M-G-M, Paramount, 20th Century Fox, Warner Brothers and RKO Pictures. These studios gave birth to dozens of new stars and thousands of films…”

Appropriately the name ‘Hollywood’ is derived from the Holly tree from ancient Celtic Druid tradition. It was from the sacred ‘holly tree’ that Magic Wands were made. So it’s no accident that ‘Hollywood’ is where the magic happens. The dream images manufactured by Hollywood studios have come to define who we are as a nation…

HOLLYWOODISM: [Excerpts from Neil Gabler’s documentary, An Empire of their Own.]

Narrator: “When modern America first saw light on a Hollywood screen it was largely the product of six movie studios established in the 1920s and run for over thirty years by a group of Jewish immigrants…

Among these immigrants were the future founders of the studios. But they brought with them a new vision of America. Hollywood was a dream dreamt by Jews…”

Aljean Harmetz: “I'm not sure that there was a quote "American Dream" before the Jews came to Hollywood and invented it… what we have today, which is a popular culture that creates dreams, that's a dream factory.”

Narrator: “The moguls created the images, the icons and the visual forms that we identify with the “American” way of life.”

Neal Gabler: “They created their own America; An America, which is not the real America. It's their own version of the real America, but ultimately this shadow America becomes so popular and so widely disseminated, that its images and its values come to devour the real America. And so the grand irony of all of Hollywood is that Americans come to define themselves by the shadow America that was created by eastern European Jewish immigrants who weren't admitted to the precincts of the real America.”

Narrator: “In the 1920s and 30s movie houses became temples of the new Hollywood religion. Jewish values made kitsch. Seventy-five percent of all Americans went to the movies at least once a week.

The America of Edison and Rankin has given way to an alien ideology, It isn’t the Communism or Judaism that the Gentile elite once feared, it’s Americanism as defined by Hollywood (Jews): A new global religion Hollywoodism.”

Jonathan Rosenbaum: “There was a Hollywoodism then. There's a Hollywoodism today. I would go further and say it is what is the ruling ideology of our culture. Hollywood culture is the dominant culture. It is the fantasy structure that we're all living inside of.”


With the outbreak of 1914’s European war--on an industrial scale--it soon became obvious that mass media was an indispensable tool for competing nations to engineer public support for their respective military expeditions.

Nephew to famed psychoanalyst Sigmund Freud, Edward Bernays working for the administration of Woodrow Wilson during the First World War had become influential in promoting the idea that America's war efforts were primarily aimed at “bringing democracy to all of Europe": a media campaign so successful both at home and abroad, that Bernays engaged this technique of molding public opinion during peace time as well, calling it "Public Relations"

And with the Second World War, Hollywood launched the full-time public-relations drum-beat to keep Americans proudly defending the ramparts of freedom and democracy once again.

Of course all that proud flag waving Hollywood propaganda hoopla conveniently failed to show how utterly un-glamorous the gruesome reality of combat truly was, or mention the fact that war is the most profitable cash-cow for defense industries and international bankers who were funding all sides of the conflict. So understandably, Hollywood and the entire entertainment industry--along with media news—now serves full-time as the propaganda division tasked with keeping the war-machine money flow on track.  


Of course it’s no big secret that thanks to the technological advances of World War II defense contractors cast their eyes to the heavens conjuring plans to conquer space as well. As early as 1908 visionary inventor Nikola Tesla had publically proposed development of exotic torsion-field technologies that could free man from the bonds of time, space and gravity.

And later over the course of the Second World War, Nazi science developed the first inter-continental ballistic rockets. And it was rumored the Nazis were experimenting with advanced flying-disc technology as well. But curiously, following the Nazi surrender in 1945 the entire Nazi rocket design program was re-located to White Sands, New Mexico

And by summer of 1947 an epidemic of flying saucer reports swept the country only to climax in a spectacular revelation that the U.S. Army Air Corps had actually captured a crashed ‘flying saucer’ at nearby Roswell, New Mexico.--Fact or Fiction?

Overnight the Army reversed its sensational claim. But despite the legendary popularity of this tale in 70 years since 1947 the Army has yet to provide one shred of physical evidence that anything extraterrestrial ever crashed in New Mexico.  But like a virus that story began a spin of cognitive dissonance confusion and controversy that still infects the “Flying Saucer” enigma to this day.

However, just two months after the Roswell incident President Harry S. Truman thanks to Operation Paperclip, created the CIA whereby he placed our former Nazi enemies fully in control of both the Central Intelligence Agency’s ‘flying saucer’ cover-up and our own military rocket program as well!

In 1947, Air Force General Nathan Twining assured President Truman that with regard to UFOs military officials would be “… ruthlessly guarding their secrets while evaluating every new bit of information on flying saucers they received. But at the same time, they would allow disclosure of some of the most far-fetched information, whether true or not, because it would help create a climate of public attitude that would be able to accept the existence of extraterrestrial life without a general sense of panic.”

And thus the ‘aliens from space’ PR spin was launched… but was it a spin to actually reveal an extraterrestrial reality or a scam to hide covert aircraft technology research instead?


Defense Department influence over the film industry soon made good on General Twining’s mandate to sell an ‘extraterrestrial reality’ to the general public.  Hollywood obediently obliged with a series of pot-boiler science fiction movies filled with flying saucers, rockets and aliens that invaded the cinema throughout the 1950s.

But these epic space films were selling more than just popcorn, they were hustling a public relations ploy aimed at warming the taxpaying public’s enthusiasm for an expensive space program the government had waiting in the wings…

And even Davy Crockett and Pinocchio made room for space rockets when Walt Disney showcased famous German rocket scientist, Wernher von Braun predicting future manned space expeditions on his Man and the Moon TV presentation. Over the following ten years we would witness von Braun’s technical conjectures transform into staggering reality.


On January 7th, 1958, 33rd Degree Freemason Senator Lyndon Johnson made this cryptic statement concerning the future status of our National Defense and the Race for Space:

"Control of space means control of the world. From space, the masters of infinity would have the power to control the earth's weather, to cause drought and flood, to change the tides and raise the levels of the sea, to divert the Gulf Stream and change temperate climates to frigid. There is something more important than the ultimate weapon. And that's the ultimate position. The position of total control over the Earth that lies somewhere in outer space."

That same year President Dwight Eisenhower established the ‘civilian’ space agency NASA.

And over the course of the 1960s NASA provided a spectacular sky-rocket show for the whole world to watch—culminating in a manned launch to the moon!  

But in retrospect it seems the Apollo moon launches were in themselves a PR distraction to divert public attention from NASA’s ‘classified’ ambitions. Despite being labeled a strictly ‘civilian’ agency, Lyndon Johnson’s cryptic 1958 revelations unmistakably revealed NASA’s covert intentions to “weaponize” space.

Even Richard Hoagland, former space advisor to Walter Cronkite and CBS Television admitted NASA’s reputation as a “civilian” space agency was a scam:

“…contrary to common public and media perception that NASA is an open, strictly civilian scientific institution, is the legal fact that the space agency was quietly founded as a direct adjunct to the Department of Defense.”

With the conclusion of NASA’s high profile Apollo missions of the 1960s subsequent space operations became more sequestered from public attention creating a false impression that grand space missions were essentially being abandoned altogether.

But in 1983 President Ronald Reagan rallied support for our space agencies to create a ‘defense shield’ over continental America; “The Strategic Defense Initiative” coined “Star Wars” by a skeptical press was explained as protection from a Soviet missile attack, but was Reagan’s SDI operation simply convenient media PR for a secret space-based-weapons-system that had already been operational for decades?


From 1962’s Doctor No to 2015’s Spectre the films of James Bond/007 have been perhaps Hollywood’s single most successful movie franchise. 

Producers Harry Saltzman and Albert ‘Cubby’ Broccoli originally brought the novels of Ian Fleming to life on the big screen and created for all time the flamboyant, iconic secret-agent character –James Bond. But within Bond’s fictional exploits few realize how blurred the line between fantasy and reality is drawn, or how deeply Hollywood studios themselves are linked to national intelligence operations.

More than a novelist, Ian Fleming was himself a high level British Royal Naval intelligence operative involved in numerous covert operations, from which his novels and films reflect firsthand insider knowledge of covert operations that touched on everything from black market smuggling, to actual espionage and assassinations. As a secret agent himself, Fleming keenly understood the world was in fact run by a syndicate shadow government from which his sinister “SPECTRE” was modeled in the 007 novels and films.  

And predictably, “total control over the earth” from space was one of SPECTRE’s major objectives.


One of the most eccentric Bond movies was 1971’s Diamonds Are Forever, a production laced with tantalizing clues suggesting connections between mysterious billionaire Howard Hughes and a privatized aerospace program. Set in Las Vegas, the ‘Diamonds’ plot leads intrepid spy James Bond on a quest to rescue “Willard Whyte”,the movie version of Howard Hughes, who has been kidnapped by Spectre’s arch villain Ernst Stavro Blofeld.  Having co-opted Whyte’s aerospace empire Blofeld seeks to launch a fearsome directed energy beam-weapon into orbit to hold the whole world for ransom.

The Diamonds Are Forever film is based on the fact that the actual space program is a private space program, not the “government” front-institution known as NASA.  And Howard Hughes with his vast aerospace industry network was a major player in creation of that private space program--not to mention his close connection to the CIA.

Indeed, Howard Hughes was not only an aerospace engineer, but also a Hollywood film director and close personal friend to Albert ‘Cubby’ Broccoli—producer of the 007 movies.  As such, much of this film plays like an inside joke even suggesting the Apollo Moon Missions were fake, by including  a seemingly out-of-place sequence of Bond stumbling across a sound stage in Willard Whyte’s aerospace assembly plant, interrupting actors staging a moon landing.

Was Hollywood admitting the moon-mission itself was a Psyop? 


Eight years later in1979 the Bond movie Moonraker takes ‘Secret Space’ engineering to an even more ambitious level, where stylish villain Hugo Drax operates his own private space program  behind various fronts and shells, intent on cornering space weaponization under a shadow government ‘corporatocracy’ ultimately intent on mass depopulation and creation of a “new world order”.  

With megalomaniac Drax himself posing as “a new god”, his plan is to re-seed the planet with his progeny descending from his man-made “heaven”; the Moonraker space station.

Hugo Drax: “First there was the dream, now there is reality. Here in the untainted cradle of the heavens will be created a new super race, a race of perfect physical specimens. You have been selected as its progenitors. Like gods, your offspring will return to Earth and shape it in their image. You have all served in public capacities in my terrestrial empire. Your seed, like yourselves, will pay deference to the ultimate dynasty which I alone have created. From their first day on Earth they will be able to look up and know that there is law and order in the heavens.”

But this film plot adds an extra diabolical twist with Drax launching poison aerosol satellites into orbit; a ‘chemtrail’ operation to eliminate the existing population in preparation for re-seeding with his own genetically modified, superior race of immortals.

Author Jay Dyer from his book Esoteric Hollywood cautions such fanciful Hollywood scenarios should not be taken lightly…


In recent years while researchers and whistle-blowers like Gary McKinnon struggled to sort out the facts about an alleged ‘Secret Space Program’ Hollywood has been explicitly showcasing the means and the motives of space weaponization for all to see!


Why waste idle banter about a Secret Space Program when you can go to the theater and actually SEE it? Marvel Studios’ 2014 second installment to the Captain America movie series-- Captain America: The Winter Soldier--is a full-fledged ‘info-mercial’ for the Deep State’s Secret Space Program. Traditionally Hollywood serves as the “Town-Crier” for the National Security State to publicly showcase its One-World-Order ambitions and Captain America: The Winter Soldier is no exception!

Despite this film’s tediously overwrought action scenes it does graphically reveal “…the overall plan of the technocratic elite to create an enslaved, biologically retarded mass [population] under the dominance of an artificial Intelligence grid.”

Alexander Pierce: “We knew that despite all diplomacy and the handshaking and the rhetoric, to build a better world sometimes means having to tear the old one down. And that makes enemies.”

Intrepid Super-Hero Steve Rogers is pitted against the launch of space battle-ships bent on full-spectrum dominance, bristling with beam-weapon cannons and propelled with anti-gravity engines—the work of Tony Stark’s [Iron Man] genius father Howard Stark [once again a fictional remake of Howard Hughes] and his corporate defense industry empire.

Segments of this film could easily have been pulled directly from the whistle-blower testimony of former Navy engineer William Tompkins who in 2016 confided “I was assigned to design for the Navy about 16 to 18 different classes of U.S. Navy battle-group ships… These ships fly in space …I designed U.S. Navy Spacecraft Carriers, which finally got built back in the late '70s up in Utah, underneath the ground.”

And the Captain America movie shows the underground bunkers where these space ships are constructed and even reveals their propulsion to be advanced from top secret World War II Nazi engineering projects just as Tompkins stated.

Upon viewing these ominous warships hero Steve Rogers understandably questions whether such weapons are intended for defense or domination—the same questions we are asking about SSP right now!

Nick Fury: “These new long range precision guns can eliminate a thousand hostiles a minute. The satellites can read a terrorist's DNA before he steps outside his spider hole. We're gonna neutralize a lot of threats before they even happen.”

Steve Rogers: “I thought the punishment usually came *after* the crime.”

Nick Fury: “We can't afford to wait that long.”

Steve Rogers: “Who's "we"?”

Nick Fury: “After New York, I convinced the World Security Council we needed a quantum surge in threat analysis. For once we're way ahead of the curve.”

Steve Rogers: “By holding a gun at everyone on Earth and calling it protection.”

Nick Fury: “You know, I read those SSR files. Greatest generation? You guys did some nasty stuff.”

Steve Rogers: “Yeah, we compromised. Sometimes in ways that made us not sleep so well. But we did it so the people could be free. This isn't freedom, this is FEAR...”

In this Captain America fiction fantasy we see fulfillment of Lyndon Johnson’s 1958 ambition for space defense explicitly portrayed… “There is something more important than the ultimate weapon. And that's the ultimate position. The position of total control over the Earth that lies somewhere in outer space."


Jay Dyer in his brilliant book Esoteric Hollywood offers a dynamic analysis of the political, historic and esoteric social impact of Hollywood film productions. He states that in “…all of Hollywood’s major releases, the establishment is conveying and encoding real world politics and black budget agendas in a profound way.”

With regard to the issue of UFOs and extraterrestrials Dyer further states:

“From my research, the alien mythos is a completely manufactured PSYOP phenomena, used for several purposes, including as a cover for drug running, secret technology, and in the long run as a possible scenario for mass manipulation.  The "MJ 12" scientists were precisely the ones who concocted the new alien mythos…the ability to program mass populations to believe entirely false ideologies is the very nature of all historic statecraft.” 

From his film history research Dyer concludes the space-alien mythos was an expedient cover for advancing secret post World War II aerospace technologies specifically targeted for weaponizing space. And Hollywood’s roll has been indispensable in manufacturing that ‘space-aliens’ diversion.

So rather than the ‘entertainment capital of the world’, Hollywood may be more accurately named the “Propaganda” capital of the world. The major film studios are subsidiaries of the major corporations that constitute the very heart of the National Security State and the films produced by the industry promote a worldview Public Relations ploy that serves the National Security State’s agenda.

Conversely the defense industries of the Military Industrial Complex still maintain their profitability with a steady drum-beat media campaign façade to sell limitless weapons for defending “freedom and democracy” —the same PR sham that’s been hustled ever since World War I…

2011’s  Pete McGrain documentary Ethos addresses the dilemma of a war-for-profit corporate mentality…

“President Eisenhower’s concern about the Military Industrial Complex; his words have unfortunately come true. He was worried that priorities are set by what benefits corporations as opposed to what benefits the country.

“Lockheed-Martin and McDonnell-Douglas and Boeing throughout America there are factories there are corporations that are involved on a daily basis.

“You know people sometimes think of the defense budget as you gotta arm the troops defend the nation but for most people that are involved in it you realize this is business—competition for contracts between very large corporations…”

“We have a snapshot in time after September 11 where at least seventy-one companies we were able to identify were starting to get contacts to go into Afghanistan and Iraq, all of these top-ten companies had officials who had worked in the Pentagon or other parts of the U. S. government—on their boards of directors or other top executives—it’s known as the ‘revolving-door’ and people cash in all the time. Public officials go to work for companies and they make triple, quadruple, ten times sometimes as much money as they used to make in public service.” 

Marvel’s Iron Man

And no better example of Hollywood’s ‘weapons-for-profit’ PR is Robert Downey Jr.’s sales pitch as defense industry CEO, Tony Stark, in 2008’s Iron Man, where he’s hustling his latest product—the ‘Jericho’ missile to Pentagon VIPs. 

Tony Stark: “They say that the best weapon is the one you never have to fire. I respectfully disagree. I prefer the weapon you only have to fire once. That's how Dad did it, that's how America does it, and it's worked out pretty well so far. I present to you the newest in Stark Industries' Freedom line. Find an excuse to let one of these off the chain, and I personally guarantee the bad guys won't even wanna come out of their caves; Ladies and gentlemen--for your consideration--the Jericho.”



James Nichols 8/14/2017




Copyright 2017 James H. Nichols.  All rights reserved.