Psyop Cinema

A section analyzing David Bowie, from the 15th installment of Brett's Patreon-exclusive series on Monarch films. Full description of the episode below, along with our Patreon link, if you're interested in the full episode. In this 15th installment in the Monarch series, Brett delves into the Jim Henson-directed children’s film Labyrinth (1986)—a film so saturated with Monarch content that it serves as a paradigm of Monarch cinema in general. The episode opens with a close look at the career of Monarch superstar Jennifer Connelly, including two other full-on Monarch films she starred in during the 1980s: Phenomena (1985) and Ballet (1989). Additionally, Brett examines the occult career of David Bowie (who plays the Goblin King in Labyrinth); he discusses Jim Henson’s collaborations with the federal government (including the CIA-linked United States Information Agency), as well as reexamining Henson’s sudden death at age 53; and he uncovers some stunning revelations by an entertainment industry insider and professed victim of Monarch abuse that relate to the plot of the film. Fritz Springmeier and Cisco Wheeler devote an entire section of their Illuminati Formula book to this film, and Brett combs over their analysis, while drawing some wider conclusions about the function of Labyrinth and other 1980s Monarch films geared toward children.https://www.patreon.com/PsyopCinemaIf you enjoy Psyop Cinema, check out the Decoding Culture Foundation and Cultural Engineering Studies magazine - https://decoding-culture.com/magazine-home/https://twitter.com/CinemaPsyophttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com

Continuing our Oliver Stone series, we turn to Platoon (1986), the film that established Stone as a superstar director and inaugurated the most celebrated phase of his career, revolving around the ghosts of the 1960s. Brett discusses the reception of Platoon in terms of the cultural politics of New Hollywood and of the Reagan era, and he considers the real reasons for the emergence of the Vietnam film at this time. He also takes a closer look at Hemdale, the sus production company behind this and Stone’s previous effort, and he offers some personal reflections on the film’s legacy. Thomas discusses the neo-shamanic, countercultural spirituality invested in the Willem Dafoe character and offers an analysis of the “two fathers” theme that would come to define Stone’s work. If you enjoy Psyop Cinema, check out the Decoding Culture Foundation and Cultural Engineering Studies magazine - https://decoding-culture.com/magazine-home/https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com   

In his latest appearance on William Ramsey Investigates, Brett discusses Part 2 of his Hollywood-NASA research report, which appeared this June in the second issue of Cultural Engineering Studies. After giving an overview of his groundbreaking research on the topic, Brett supports his conclusion that NASA’s partnership with the entertainment industry has always been a globalist cultural engineering operation. William and Brett also talk about Arthur C. Clarke’s central role in coordinating NASA support for the production of Kubrick’s 2001, and Brett reveals never-before-seen information from the Kubrick Archive in London, offering new insights into the Luciferian-transhumanist religiosity at the heart of the film. Finally, Brett touches on the disturbing trauma-based mind control subtexts of NASA-supported children’s films from the 1980s, including Flight of the Navigator, as well as NASA’s ongoing promotion of the moon hoax theory (in movies like the recent Fly Me to the Moon) as a form of psychological warfare.https://decoding-culture.com/magazine-home/https://www.williamramseyinvestigates.com/https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com   

Steven DeLay joins Thomas for a conversation about the 2011 film Drive, directed by Nicolas Winding Refn and starring Ryan Gosling. Analyzing the subversive and psyop-heavy intentions behind the movie, they conclude that Drive retains some profoundly redemptive qualities despite those designs. Topics of discussion include Refn's outspoken allegiance to the cult of the divine feminine, the cultural significance of the film's music, and Drive's place within the history of neo-noir.https://twitter.com/StevenDeLay4https://stevendelay.com/https://decoding-culture.com/cultural-engineering-studies-issue-2/https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com

Brett recently made an appearance on William Ramsey Investigates with top Hollywood-DC researcher and writer Matthew Alford to discuss the murder of deep state-connected Hollywood screenwriter Gary DeVore. Brett interviewed Alford about his 2016 book on the DeVore case—The Writer with No Hands—for the latest issue of Cultural Engineering Studies. The discussion on the show touches on Hollywood’s vast relationship to the federal government and the clandestine world more broadly, as well as the history and challenges of using FOIA (the Freedom of Information Act) to obtain documents from the government regarding its collaborations with the entertainment industry.Note: The livestream of this conversation experienced some audio issues, such issues have been edited out as much as possible https://drmattalford.substack.com/https://www.youtube.com/@DrMatthewAlfordhttps://www.amazon.com/Writer-No-Hands-Pocket-sized/dp/1530649870/https://www.williamramseyinvestigates.com/https://decoding-culture.com/cultural-engineering-studies-issue-2/https://decoding-culture.com/cultural-engineering-studies-issue-2/#interview-with-matthew-alfordhttps://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com   

A discussion with Carrie Olaje, a survivor of ritual abuse and trauma-based mind control. Carrie provides names, dates, and locations, as she describes how she was primed from a young age for Monarch slavery, with a former Sergeant Major of the US Army as her handler. She and Brett talk about the nature and history of the cryptocratic cult, as well as the question of possible intentional disinfo within the testimony of certain Monarch survivors. Fantasy themes and imagery featured heavily within the mind control abuse Carrie underwent, so we analyze four strange animated fantasy films that she reports were used as tools by programmers. Thomas talks to Carrie about Rankin and Bass Studio's animated films The Hobbit (1977) and Return of the King (1980), as well as Ralph Bakshi's infamous The Lord of the Rings (1978), before Brett gives a detailed analysis of the Monarch film The Last Unicorn (1982). Thomas also provides some thoughts on the spiritual pitfalls of the fantasy genre, the psy-op function of different kinds of fantasy films, and the surprising ideological agenda behind these animated movies. Carrie's YouTube channel - https://www.youtube.com/@carrieolaje CORRECTION: In the discussion of the origins of the term "Monarch," the name of the person that Brett refers to as Mark Reynolds is actually Mark PhillipsIf you enjoy Psyop Cinema, check out Cultural Engineering Studies magazine - https://decoding-culture.com/cultural-engineering-studies-issue-2/https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/ https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com

Steven DeLay, a keen analyst of film's conspiratorial undercurrents, joins the hosts for an engaging exploration of the 1998 film Enemy of the State. They dive into how the movie serves as a lens for understanding the rise of the surveillance state and predictive programming related to 9/11. The conversation unveils the psychological impact of Hollywood narratives on public perception of government actions, critiques the relationship between entertainment and national security, and reflects on the moral dilemmas faced by individuals within a surveillance culture.

Our long-awaited analysis of Joker: Folie à Deux, a film so sadistic that even mainstream critics noted its contempt for its audience. In one of the ultimate exercises in Hollywood hypocrisy, the movie seeks to reinforce the psy-op of the 2019 film while simultaneously morally condemning the audience for falling for that psy-op. We analyze the movie's demonological subtext and discuss how Folie à Deux is interestingly distinct from both standard Joker Cycle films and from overt Hollywood goddess worship. The Joker Cycle - https://im1776.com/prints/issue-3/the-joker-cycle/If you enjoy Psyop Cinema, check out Cultural Engineering Studies magazine - https://decoding-culture.com/product/cultural-engineering-studies-issue-1-print/  https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com  

Brett and Thomas are joined by Sean McCann and Dr. Hans Utter for a deep dive into Angel Heart, a mystery horror movie released in 1987, directed by Alan Parker and starring Mickey Rourke and Robert De Niro. Set in New Orleans in 1955, the film is a Faustian tale about the disappearance of a singer named Johnny Favorite, giving us the chance to consider the occult origins of the modern music industry at length. A Satanic film about Satanic pacts, Angel Heart is filled with revelation of the method designed to disorient and destabilize its audience and contains abundant subtext about how the MK-entertainment industry creates IMSAs (Illuminati Mind Slave Artists). We also speak extensively about the nexus of voodoo, the occult, and modern styles of music.https://onegreatworknetwork.com/sean-mccannhttps://x.com/SeanWakeTheDead Eyes Wide Open Hans Utter Investigateshttps://x.com/EWOhansutter https://hansutter.com/ https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinema thomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.comhttps://decoding-culture.com/magazine-home/ 

Returning from our unofficial hiatus, we continue our series on Oliver Stone. The early 1980s saw the release of a few films written by Stone that centered upon violent antiheroes. We talk about John Milius and his clash of visions with Stone over the approach to mysticism in 1982's Conan the Barbarian. Next, Scarface and The Year of the Dragon both unsuccessfully grasp toward Stone's political turn, while the much higher quality Salvador (1986) is the movie that truly brings Stone into his own as a filmmaker. Analyzing the insights and limitations of Salvador's critique of the CIA, we consider how its protagonist (journalist Richard Boyle, played by James Woods) reflects Stone's evolving approach to masculinity and to the legacy of the counterculture.   https://twitter.com/CinemaPsyophttps://www.patreon.com/PsyopCinemahttp://psyop-cinema.com/https://linktr.ee/psyopcinemathomas-psyopcinema@protonmail.combrett-psyopcinema@protonmail.com  If you enjoy Psyop Cinema, check out Cultural Engineering Studies magazine - https://decoding-culture.com/product/cultural-engineering-studies-issue-1-print/ CORRECTION: Tony's boss in Scarface was played by Robert Loggia, rather than Frank Langella