UFOS and Social Engineering

Still awaiting… UFO DISCLOSURE

For the past 70 years the American population as well as the rest of the world has been anticipating some kind of OFFICIAL  DISCLOSURE revealing the reality of ‘Flying Saucers’ and ‘Extraterrestrials’; anticipation that our high-level military or government representatives would finally share a forthright explanation of this persistent phenomenon once and for all. Even MUFON the national civilian UFO research organization, despite a vast UFO report data-base gathered since 1969 still offers NO definitive analysis explaining this enigma.

Assuming there is some kind of substantial reality to UFOs it would appear government policy towards this issue remains unchanged in 70 years.

“Nothing out of the ordinary exists.”

Wilbert Smith, head of Canadian UFO studies between 1950 and 1962, filed a top secret Canadian Government Memorandum on November 21, 1950 that stated…

"The matter is the most highly classified subject in the United States Government, rating even higher than the H-Bomb.  Flying saucers exist.  Their modus operandi is unknown but concentrated effort is being made by a small group headed by Doctor Vannevar Bush.” [Head of President Truman’s National Science Foundation]. 

Given that UFOs are a legitimate reality it would seem that over those 70 years since the notorious Roswell UFO crash in New Mexico government agencies have meticulously gathered and sequestered every scrap of definitive evidence of that reality as well as doctored historical records to maintain absolute control over the public perception of this mystery; control so comprehensive as to accommodate whatever kind of expedient cover-up spin preservation of governmental authority might require.  

Obviously controlled machines of unknown origin flying in our skies would present an unavoidable national defense issue regardless if they originated from outer space or from advanced German war technologies, such unknowns posed a potential military threat that required immediate top-secret, top-priority research efforts to investigate, emulate and, if possible, surpass the flight performance of such exotic aircraft.

But that was 70 years ago… Are we to assume that our nation still faces an imminent UFO threat so dire that even today its disclosure would be devastating; that in 70 years we still have not engineered adequate means of protection?

Or is it that those exotic ‘flying saucer’ propulsion technologies have been mastered but to protect the global economic status-quo such mastery must remain secret?

As well, over the last 70 years, given the increasingly diabolical, imperialist behavior of our own military-industrial-complex it would seem ultimate DISCLOSURE, rather than a Presidential pronouncement, or friendly alien visitation, will more likely be the National Security State’s own Secret-Space armada descending from the skies to impose global martial-law!

Absurd you say?  Well let’s roll the clock back 70 years and see how Hollywood has likely been preparing us for just such an eventuality…


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.”

Very soon the film industry made good on General Twining’s mandate to sell an ‘extraterrestrial reality’ to the general public; a population that in the aftermath of World War II was largely ignorant and indifferent to the notion of extraterrestrials.   

As well few Americans realized that Hollywood, “the entertainment capital of the world”was also the PROPAGANDA capital of the world. In fact nestled in the Hollywood hills was a secret motion picture studio built in 1941 located in Laurel canyon… called the “Lookout Mountain Laboratory”.

“…the installation was hidden from view and surrounded by an electrified fence. By 1947, the facility featured a fully operational movie studio. … it was perhaps the world’s only completely self-contained movie studio. With 100,000 square feet of floor space, the covert studio included sound stages, screening rooms, film processing labs, editing facilities, an animation department, and seventeen climate-controlled film vaults. It also had underground parking, a helicopter pad and a bomb shelter…

Officially, the facility was run by the U.S. Air Force and did nothing more nefarious than process Atomic Energy Commission footage of nuclear bomb tests.

There are indications that Lookout Mountain Laboratory had an advanced research and development department that was on the cutting edge of new film technologies--such as 3-D effects. And Hollywood luminaries like Jimmy Stewart, Ronald Reagan, Bing Crosby, Walt Disney and Marilyn Monroe were given clearance to work at the facility on undisclosed projects. Although there is no indication that any of them ever spoke of their work at the clandestine studio.”

However it is no secret that the major film studios are subsidiaries of major corporations that constitute the very heart of the National Security State and the films produced by the industry promote worldview Public Relations propaganda that serves the National Security State’s interests. Conversely the defense industries of the Military Industrial Complex still maintain their profitability thanks to Hollywood’s steady drum-beat media campaign to sell limitless weapons for defending “freedom and democracy”.

So to fulfill General Twining’s 1947 mandate to start selling the idea of ‘space-aliens’ 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; movies hustling a UFO ‘terror’ campaign aimed at stereotyping UFOs as a menacing threat to keep the public clamoring for more defense department protection; the same kind of PR tactic that had worked so successfully all during World War II.

Fundamental statecraft requires…

“The existence of an accepted external menace, then, is essential to social cohesiveness as well as to the acceptance of political authority. The menace must be believable, it must be of a magnitude consistent with the complexity of the society threatened, and it must appear, at least, to affect the entire society.” [Report from Iron Mountain]

And we see those fundamental SOCIAL ENGINEERING PERCEPTIONS translated into Hollywood’s science fiction movies as:

1.       Humanity is helpless.

2.       Its technology is outclassed.

3.       It must submit to the guidance of an ‘alien’ elite: a “Master Race”!

With these propaganda themes in mind let’s re-examine just how Hollywood portrayed them in 1950s movies…




The Day the Earth Stood Still (1951) 20th Century Fox


In 1951 20th Century Fox introduced The Day the Earth Stood Still with the promotion tag-line:

[Tag Line] “They came 250 million miles out of space to hold the world spellbound with new and startling powers from another planet!”

The scenario tells of an alien named Klaatu who with his mighty silver robot named Gort land their spacecraft in Washington D.C. bringing a dire message to all nations of planet earth; an ultimatum that the nations of the world must accept peace or be destroyed as a potential menace to other civilizations in space.

But not only is this film selling the superiority of extraterrestrials, it’s selling the superiority of Artificial Intelligence. As early as 1951 Hollywood was showcasing the “Singularity”; the point in time when Artificial Intelligence surpasses human intellect and in this case the point when inferior humanity must submit to ‘police-state’ rule by superior extraterrestrial A.I.

“For our policemen, we created a race of robots. Their function is to patrol the planets in spaceships like this one and preserve the peace. In matters of aggression, we have given them absolute power over us. This power cannot be revoked. At the first sign of violence, they act automatically against the aggressor. The penalty for provoking their action is too terrible to risk. The result is, we live in peace, without arms or armies, secure in the knowledge that we are free from aggression and war. Free to pursue more... profitable enterprises. Now, we do not pretend to have achieved perfection, but we do have a system, and it works. I came here to give you these facts. It is no concern of ours how you run your own planet, but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder. Your choice is simple: join us and live in peace, or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you.”

From the outset Hollywood has been selling a GLOBALIST agenda masked as ‘science fiction’ and certainly The Day the Earth Stood Still was the most explicit example…  


It Came from Outer Space [1953] Universal International]

[Tag Line] “Yes, it came from outer space to fill the world with terror, to give you unforgettable suspense. What was it? Where did it come from? Who were the all-powerful creatures it had brought from outer space and what did they want?” 

Hollywood’s early sci-fi productions were low budget black and white quickies that got by with minimal special effects—just enough to hook the imagination of an audience… So, lacking lavish computer-graphics animation 50s screen writers often relied on the theatrical device of subjecting the story’s main characters to ‘alien mind-control’ to carry the plot.  And we see this convenient theatrical ‘zombie-gimmick’ used in numerous sci-fi films.

Case in point was 1953’s 3-D spectacle It Came from Outer Space. Coming right out of the movie screen, a blazing spherical space-ship crashes in the Arizona desert leaving sole witness, amateur astronomer, John Putnam struggling to convince the parochial population it was not a meteor.

Gradually the alien ship’s bizarre pilot, an ugly one-eyed octopus amoeba creature, reduces selected members of the townsfolk into controlled zombies to assist repairing his disabled ship. Not bent on conquest this reasonably benign alien simply demonstrates to ignorant earthlings creatures of superior intelligence also exist in outer space.

War of the Worlds [1953] Paramount Pictures

Thanks to Paramount Pictures, Hollywood’s first retelling of H.G. Wells’ classic novel about alien marauders from Mars earned respectable cinema attention in 1953 with a ‘Technicolor’ rendition featuring the contemporary setting of Southern California and Martian machines stylishly designed like flying saucers rather than striding tripods. But true to Wells’ original story these aliens ravage helpless Earth humanity with superior weapons totally impervious to the most sophisticated Earth defenses—even the atomic-bomb! In the end only the divine intervention of a viral infection defeats these ruthless alien invaders.   

This Island Earth [1955] Universal Pictures

Universal Pictures followed War of the Worlds with a Technicolor space thriller of its own, This Island Earth, an imaginative screen story that deserved better production values than it received. This epic once again featured technically superior, human-looking aliens covertly living among earth humans and recruiting the best earth scientists for advanced nuclear engineering projects intended to rescue their besieged alien world far out in space.


These aliens piloted a silvery saucer able to snatch airplanes right out of the sky with an eerie green energy beam. But despite silly rubber-suited monsters menacing the film’s heroine this picture’s overall concept was yet another engaging, provocative Public Relations gimmick selling the idea of ‘superior space aliens’.   

Earth Vs. the Flying Saucers [1956] Columbia Pictures

Multiple flying saucers steal the show with Columbia Pictures’ Earth Vs. the Flying Saucers and its standard fare of marauders from space. Once again an armada of flying saucers descends upon hapless humanity, only this time intrepid earth scientists win the day by devising field disruptor weapons capable of knocking the saucers out of the sky, but not before they ravage much of Washington D.C. This film also employs the ‘humans-as-alien-mind-controlled-zombies’ trick once again.  

But that same year 1956 Hollywood featured alien panspermia reducing the whole human population to zombies with the film…

Invasion of the Body Snatchers [1956] Allied Artists

[Tag Line] “The nightmare that threatens the world.”

This tale features a small town doctor who finds several of his patients suffering the paranoid delusion that their friends or relatives are impostors. He is initially skeptical, but when the doctor’s investigations uncover a hideous truth that extra-terrestrial seed-pods are taking over all the local townsfolk, he becomes desperate to warn the world. In 1956 this film seemed a vague warning against communism but today it serves even more dire relevance as a warning against micro-chip implants, transhumanism and atmospheric chemical spraying—just as the movie’s promotion pitch declared: “The nightmare that threatens the world.”

Forbidden Planet [1956] M-G-M

[Tag Line] “Today, man prepares to take his first step outward into space—Tomorrow he will explore the stars.”

By 1956 science fiction films were becoming better financed and more sophisticated. A truly extraordinary film for its day was M-G-M’s Technicolor, Cinemascope extravaganza Forbidden Planet--a space epic that foreshadowed America’s own weaponization of space with a subtle preview of anti-gravity technology.

Scientific discussion of anti-gravity propulsion during the 1950s suggested that revolutionary breakthroughs in this research were imminent. And in this film we see earth humans rather than aliens piloting flying saucers across the galaxy.  In fact the military space fleet protocols we see portrayed in Forbidden Planet ten years later would be adapted to Gene Roddenberry’s Star Trek Federation space fleet.  

More of a psychological thriller, Forbidden Planet’s story line follows Space fleet commander J.J. Adams and his crew who are sent to investigate mysterious silence from a scientific expedition to distant planet Altair-4 where he finds only two survivors, Dr. Morbius and his daughter Altaira.

While marooned on Altair-4 Morbius has discovered remnants of an ancient civilization possessing extraordinary technologies beyond human understanding; deadly artificial intelligence technologies that consumed the very civilization that created it.  Ultimately, Adams realizes Dr. Morbius has himself been seduced by the homicidal powers of the planet’s lost civilization.

But Forbidden Planet, aside from its corny 1950s romance sub-plot and a loveable robot named “Robby”, is also a profoundly sophisticated cautionary tale about Artificial Intelligence suggesting a haunting threat from what we now call the “Singularity”; a nexus point in time when artificial intelligence surpasses human intelligence; a time when humanity may face extinction at the hands of its own technological creation.

But Hollywood’s brief flirtation with selling the idea of military anti-gravity propulsion began and ended with Forbidden Planet. Soon after the Air Force demonstrated its own Avro Disc flying saucer;

a clumsy failure serving proof to the world that ‘flying saucers’ can’t fly!  Officially the anti-gravity topic has remained closed since 1961.  


 2001: A Space Odyssey

Nearly twenty years of science fiction movies thoroughly conditioned audiences for Hollywood’s next quantum leap; 2001: A Space Odyssey; a film of unparalleled sophistication and Stanley Kubrick’s transcendent masterpiece. But 2001, more than a visually stunning space epic, played as a dynamic propaganda piece functioning on multiple levels;

Released in 1968, it served as a huge PR send-off preceding NASA’s Apollo 11 moon landing in 1969.

It also warned about the dangers of Artificial Intelligence, as well as bluntly suggested government cover-up of an extraterrestrial reality.

And ultimately 2001 engaged abstract, metaphysical speculation about the nature of man’s spiritual destiny.  

Kubrick’s 2001 not only set the standard for all science fiction films to follow, it also locked into the public perception what is visually accepted as space flight ‘reality’; particularly the theatrical device of ‘slow-motion’ movement simulating zero or low gravity environments.

We see this same device used a year later in perhaps Kubrick’s greatest film blockbuster the Apollo 11 Moon Landing! In 1968 Kubrick had already profoundly established in the public perception just how space flight should look… a visual precedent repeated in subsequent Apollo moon missions.

So, of course, according to virulent conspiracy theory research Kubrick is credited with secretly filming NASA’s Apollo landings on a Hollywood soundstage;

A notion that seems totally plausible considering the disastrously political climate sweeping America the year 2001: A Space Odyssey was originally released--the dangerously turbulent year 1968--The Pentagon was facing military defeat in Vietnam, anti-war and civil rights protest violence rocked cities across the country, forcing President Lyndon Johnson to withdraw from re-election. Martin Luther King and Bobby Kennedy were both murdered. And Richard Nixon, narrowly winning Presidential election victory that year, desperately needed some kind of spectacular event to restore at least a shred of American prestige and dignity! Failure of Apollo 11’s July 20, 1969 mission was simply NOT an option! 

So real or not the American public was served a spectacular moon landing success in 1969; perhaps the final tribute to America’s lost innocence.

But Stanley Kubrick may have used 2001 to convey themes actually counter to the establishment propaganda of earlier sci-fi films as he focused on Odyssey’s fictional space agency deliberately withholding disclosure of an alien artifact discovered on the moon. As well he portrays artificial intelligence as arrogant and homicidal with villainous talking-computer HAL seeking total domination over his ship’s ‘inferior’ human crew. “This mission is too important for me to allow you to jeopardize it.”

Following the film story-arc from ape-men to astronauts we see human evolution altered at key junctures by incomprehensible overlords manifesting as imposing black monoliths. Kubrick shows humanity’s progression from a simple bone weapon-tool to full co-dependency on machines that ultimately reduces man to near robotic status as astronauts locked in the sterile mechanical womb of a spaceship. Only by disabling homicidal computer HAL and exiting his spaceship does sole survivor David Bowman liberate himself from mechanical instrumentalities altogether… and face the monolith overlord’s next evolutionary alteration of human consciousness.      

Actually Stanley Kubrick’s Odyssey contains a diabolically clever inside joke considering the flat ratio dimensions of his film’s ‘monolith-obelisk’ are the same ratio dimensions as a motion picture screen; meaning that just as the ape tribe’s consciousness was altered by staring at the monolith—so do images dancing on a motion picture screen alter the consciousness of the audience!








Close Encounters of the Third Kind [1977] Columbia Pictures

“We are not alone”

Nearly a decade after 2001: A Space Odyssey, film-maker Steven Spielberg offered the next quantum leap in science fiction films with his classic production Close Encounters of the Third Kind.  This film as well employed the special effects genius Douglas Trumbull, veteran of Kubrick’s Odyssey to provide the stunning UFO visuals.

Close Encounters gained block-buster status as one of the biggest money-makers of all time demonstrating that forty years of Hollywood sci-fi propaganda had paid off by convincing nearly 80% of the population that extraterrestrials actually exist.

Spielberg’s scenario features the convergence of two parallel story-lines; a group of research scientists from a variety of backgrounds are investigating strange paranormal phenomena around the world, while a pair of rural Indiana residents, who share a night-time UFO encounter, follow a mysterious obsessive quest to Devils Tower, Wyoming, where they discover those same globe-trotting scientists are preparing a top-secret extraterrestrial landing event.


Once again Close Encounters shows how technically outclassed humans are dazzled by extraterrestrial overlords, who in this film manifest as child-like gray aliens. But despite their cute Disney-charm, Spielberg’s grays exhibit schizophrenic amoral attitude extremes when dealing with humans; terrorizing a mother by literally tearing her child from her arms then returning the boy like an unharmed lab-rat days later--as if it were perfectly acceptable to do so.  But perhaps these nearly intellectually incomprehensible alien overlords who communicated with a simple five-note musical sequence did in fact regard humans as little more than lab-rats. 

Of course Spielberg’s aliens, although bathed in angelic white light, bear an unmistakable resemblance to alleged extraterrestrials that over the following decade would gain popular mass-media promotion as… ‘the Grays’; small fetus-like creatures that would become inextricably linked to the notorious UFO ‘abduction’ scenario.

Aleister Crowley’s ‘Aliens’

But despite media popularity of such extraterrestrials, Hollywood has been careful to conceal the fact that, ‘Gray-aliens’ also bear an uncanny resemblance to supernatural entities conjured up by Satanist Aleister Crowley.

From January through March of 1918 noted British occultist Aleister Crowley began a series of sexual magic ceremonies in a New York City, Central Park West apartment to intentionally open a portal of entry allowing demonic entities passageway access our earth-world reality.

Crowley was convinced that seeking contact with supernatural overlords offered the only salvation to the human race.

My observation of the Universe convinces me that there are beings of intelligence and power of a far higher quality than anything we can conceive of as human; that they are not necessarily based on the cerebral and nervous structures that we know; and that the one and only chance for mankind to advance as a whole, is for individuals to make contact with such Beings.”

The drawing of Crowley’s hyper-dimensional overlord bears a striking resemblance to what has become commonly referred to as the "gray aliens," slight-bodied, big-headed, large-dark-eyed manikin creatures that bear an uncanny resemblance to reported UFO-entities popularized during the 1980’s thanks to Whitley Strieber’s best-selling book ‘Communion’ as well as Spielberg’s Close Encounters and a host of Hollywood’s ‘alien’ movies that would follow… And of course it’s common knowledge that within the entertainment industry Aleister Crowley is highly regarded as a cult-hero.


And use of technology and the occult to open dimensional portals for hyper-dimensional entities to access our earth-reality is yet another popular Hollywood theme in movies like Ghostbusters, The Avengers, and Doctor Strange.


By now it should seem obvious that after 70 years expecting some kind of legitimate disclosure regarding UFOs and Extraterrestrials from national government sources is absurd. Since 1947 the Federal government is a political entity whose power has been eclipsed by the private corporate interests of the National Security State, and conversely the corporate infrastructure of the National Security State owns and operates Hollywood.  With this in mind it may be quite possible that Hollywood ‘insiders’ access more classified secrets than Washington!

The official Obama White House response to the alien question was:

Certainly a definitive disclaimer, but then any president would only reveal as much as his intelligence agency advisors would allow.

Skunkworks aerospace engineer the late Ben Rich stated, “We already have the means to travel among the stars but these technologies are locked up in black projects and it would take an act of God to ever get them out to benefit humanity.”

So while ardent UFO researchers have been impotently dithering and sputtering about flying saucers and aliens for 70 years, it seems quite likely as Ben Rich implied that these topics have been clever distractions from top secret defense projects the whole time...

And more recently while UFO researchers and whistle-blowers like Gary McKinnon have been obsessing over an alleged ‘Secret Space Program’-- once again Hollywood has been explicitly ‘disclosing’ the means and the motives of space weaponization for all to see!

Why waste idle banter speculating about a Secret Space Program when you can go to the theater and learn all about it?

Marvel Studios—a Disney, Viacom corporate entity, in 2014 premiered its second installment to the Captain America movie series--Captain America: The Winter Soldier--as 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.”

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 Iron Man--Tony Stark’s genius father Howard Stark [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 space ships constructed in underground bunkers powered by anti-gravity propulsion 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 the SSP right now!


Researcher/author 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 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.

Eyes Wide Shut: means we see yet we do not comprehend. From the outset Hollywood has been selling a GLOBALIST agenda masked as ‘science fiction’ and the totalitarian police-state prophesized in The Day the Earth Stood Still may well come to be enforced not by aliens but by our own Secret Space Fleet! 

UFOS and Social Engineering




Some text and footage in this educational film is unauthorized and has been respectfully borrowed in accordance with the Fair Use Doctrine and U.S. Copyright Code section 107.




Copyright 2017 James H. Nichols.  All rights reserved.