Like no other book before it, this work delves into the deep, dark, and mysterious undertones hidden in Tinsel town’s biggest films. Esoteric Hollywood is a game-changer in an arena of tabloid-populated titles. After years of scholarly research, Jay Dyer has compiled his most read essays, combining philosophy, comparative religion, symbolism, and geopolitics and their connections to film. Readers will watch movies with new eyes, able to decipher on their own, as the secret meanings of cinema are unveiled.

Jay Dyer is known for one of the premier film and philosophy sites on the net, Jaysanalysis.com. Jay’s graduate work focused on the interplay of film, geopolitics, espionage and psychological warfare. Jay is a public speaker, lecturer, comedian and author of the popular title Esoteric Hollywood: Sex, Cults and Symbols in Film, which made it to Amazon’s No. 1 spot in its first month of release in the Film and Hollywood Category. Known for his in-depth commentary and satire, he has appeared on numerous nationally syndicated radio and television shows. Jay is also the co-host and co-creator with Jay Weidner of the TV show Hollywood Decoded on Gaia TV.

Esoteric Hollywood 2

More Sex, Cults and Symbols in Film

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Contents

Aviator

Before it entered anyone's mind to use Hollywood on a mass scale to promote transhumanism (which we will investigate later in this volume), Hollywood had mobsters and gangsters on its mind. In the early 20th century one of thee key figures was Mormon Mogul and aerospace engineer Howard Hughes – who also happened to later work directly with the CIA. We see a window into this world with Martin Scorcese's 2004 The Aviator. While most viewers probably found the Howard Hughes story a captivating dramatic portrayal, reviewing this film I was reminded of a lot of background dot connecting I had done in the ten years since it premiered related to Hughes. As readers can probably imagine, the rabbit holes around Hughes Scorcese only hints at are in fact much deeper and darker than the meta-narrative production revealed.

The Aviator was nominated for 11 academy awards, won five, and is undeniably a well-made film, yet in my estimation leaves out many key details as it reveals, in relation to the real story of Hughes. Thus, in considering the nexus of intelligence, Hollywood and the occult, The Aviator and Hughes are key intersects. With that in mind, this analysis will not solely focus on the film, but aspects of Scorcese's film and Hughes' secrets in relation to the deep state shadow government.

In this regard, we can posit that Scorcese, a longtime Hollywood insider, may have even chosen the meta aspects of The Aviator with Hughes' film directing period to mirror the control of Hollywood by the establishment. In other words, directors themselves are "directed," as I proposed in the first book. If that sounds outlandish, consider Scorcese's 2011 Hugo contains the theme of old Hollywood and the freedom and creativity directors had in the silent era contrasted with the elite controlled, cookie-cutter simulacra that would come to characterize modern Hollywood.

Hugo is, in part, about the loss of creativity and the demise of Hollywood, leading me to speculate that Scorcese is conveying a similar message earlier in The Aviator. The film opens with Hughes filming his 1930 war (propaganda) epic, Hell's Angels (the most expensive film of its day). Hughes was initially a Hollywood outsider who filmed his work largely from his own pockets, and as a result, the military picked up on his skills for propaganda much like the establishment did with Kubrick and his collaboration with NASA. The dark marriage of the arts and the Pentagon comes to the fore once again!

Hughes' engineering work also contributed to his contracts with the Air Force, as well as deals with Lockheed-Martin, leading to his rise in the formation of TWA. Hughes would prove instrumental in the airline companies becoming global, but his rise also makes more sense given his intelligence connections he acquired, as we shall see. Buddying up with the military industrial complex and working on a number of covert engineering and spy plane projects, Hughes eventually became a source of danger for the establishment, given his knowledge.

His eccentric behavior and extreme obsessive-compulsive tendencies combined with extreme paranoia didn't help, either, with the CIA encircling Hughes in the form of Mormon bodyguards. The Mormon mafia connections with Hughes would become evident in his death, bequeathing a billion and a half dollars to Mormon institutions. Consider as well that the Mormon Church has a large CIA contingent, deriving many of its rituals from Freemasonry. While all of this might be teased out merely from Wikipedia links, still deeper connections remain. The CIA's Robert Bennett had lucrative ties to Hughes through his front company (for the Agency), The Mullen Company, which included many connections to later Watergate figures, such as Chuck Colson. Another crucial player was a former Mullen Company man and former boss of Bennett, the infamous E. Howard Hunt, who confessed on his death bed to a role in plotting the JFK assassination.

Thus with Bennett and Hunt, the Hughes circles were peopled by major elements of the deep state apparatus, and to make things even creepier, the Mullen Company was intimately connected to the J. Walter Thompson advertising agency, which would be instrumental in utilizing Bernays' Pentagon psychological warfare tactics in their ad strategies. We can also see a window into the hidden history of the CIA's connections and relations to the airlines. Many airlines are GLC, or a "government linked company," which we might translate into intelligence linked company, bringing to mind classic examples of intelligence front airlines, such as Evergreen, the famed CIA shell company that succeeded Air America. Time magazine explains:

Officially, the CIA says it has no record that Doole ever worked there, but among old agency hands, he is a legend. Operating out of a small, nondescript office on Connecticut Avenue, he founded and ran a far-flung network of airlines that the agency used to carry out its covert operations all over the world. Owned by a holding company, the Pacific Corp., that was itself a CIA front, Doole's empire included Air America, Civil Air Transport, Southern Air Transport, Air Asia and dozens of small puddle-jumper lines. Together, at their peak in the mid '60s, these CIA "proprietaries" added up to an airline that was almost the size of TWA, employing nearly 20,000 people (as many as the CIA itself) and operating some 200 planes. Even the CIA was not sure just how many. Asked by then Deputy Director Helms to account for all the planes in Doole's regime, a staffer spent three months on the project before confessing that he could never be more than 90% certain. The problem, explained the exasperated staffer, was that Doole was forever leasing planes between his shell corporations and changing their markings and tail numbers.

And as Wired Magazine noted in 2011, "mysterious" flights didn't end with Iran-Contra and 80s Air America:

It's a big fall for Evergreen, the multi-faceted firm that's serviced government agencies for more than a half-century. The company flew the Shah of Iran around in 1980, and ran mysterious missions to El Salvador and Nicaragua shortly thereafter. The flights to Afghanistan began just a few months after the American invasion, in February, 2002. In 2006, Evergreen's parent company ferried Bill O'Reilly into Kuwait, according to SourceWatch. That same year, Evergreen denied it had anything to do with the CIA's "rendition" flights that took terror suspects to torture-friendly regimes. In 2009, the company won a $158 million contract to supply the Air Force with helicopters.

Scorcese's film also highlights Hughes' intimate period with Hollywood starlet Katherine Hepburn. While Hepburn was known for her outspoken feminism and decision to don masculine clothing as a sign of cultural revolution, it is not widely known that Hepburn's mother, Mrs. Thomas Hepburn, was a crusader for anti-black activist Margaret Sanger.

To this day, Planned Parenthood honors Hepburn for her promotion of women's rights and abortion. The reason I highlight this is the fact that The Aviator and Hughes' circles of establishment figures give the impression of a bumbling outsider oblivious to the world he stumbled into. However, being brought on board with the establishment's grand goals included preeminently the implementation of mass dysgenics/eugenics strategies, and his pairing with Hepburn was yet another sign of Hughes' collusion with the military industrial complex's cultural goals. The crucial point to grasp here is the WWII and Cold War buildup of "national defense," of which Hughes was a central part, was far more involved than often assumed, as we see with Project AZORIAN – with an added bonus of commentary from Henry Kissinger:

Ultimately, the engineers opted for a plan that sounded like it was lifted from the plot of a James Bond film (actually, it did become the plot of a James Bond film). The plan involved three vessels: 1) An enormous recovery ship with an internal chamber and fitted with a bottom that could open and close. This ship would use a docking leg system that would, in effect, turn it into a stable platform for using a lifting pipe to raise and lower a 2) "capture vehicle" fitted with a grabbing mechanism that would be designed to align with the hull of the sub. The capture vehicle would be secretly assembled on a 3) massive barge with a retractable roof. The barge would be submersible, so that it could slip beneath the ocean, under the recovery ship, open its roof and deliver the capture vehicle – all the while remaining hidden from any potential reconnaissance.

The CIA contracted the Summa Corporation – a subsidiary of the Hughes Tool Company owned by billionaire industrialist Howard Hughes – to build the 618-foot-long, 36,000-ton recovery vessel, which was dubbed the Hughes Glomar Explorer (HGE). Of course, the sight of a floating behemoth lingering in the Pacific Ocean was bound to raise some eyebrows. So, Project AZORIAN concocted a cover story that the HGE was being built for Hughes's private commercial venture to mine manganese nodules located on the ocean floor. A May 1974 memo to Secretary of State Henry Kissinger explained:

The determination reached was that deep ocean mining would be particularly suitable. The industry was in its infancy, potentially quite profitable, with no one apparently committed to a hardware development phase and thereby possessing a yardstick by which credibility could be measured ... Mr. Howard Hughes ... is recognized as a pioneering entrepreneur with a wide variety of business interests; he has the necessary financial resources; he habitually operates in secrecy; and, his personal eccentricities are such that news media reporting and speculation about his activities frequently range from the truth to utter fiction.

The military industrial complex's Cold War defense apparatus was the means by which the transition to the future technocracy would come about. In this regard, the Atlanticist establishment's goals of mass depopulation, mouthed through operations like Planned Parenthood, are part of the same agenda as the Cold War and subsequent CIA global arms and drugs race. Thus, with families like the Rockefellers, entities like Hollywood, the CIA, Hughes Corporation and Planned Parenthood all find common ground and interconnect.

This also explains why, at the close of the film, a paranoid Hughes fears intelligence agents have infiltrated his company, and Scorcese leaves us with the open interpretation of whether these agents were real or a figment of Hughes' imagination. Given Hughes' mysterious 1970 "disappearance," some have concluded he was kidnapped by the Agency due to fears of his psychological issues resulting in leaks.

One is also reminded here of the 2001 Ron Howard film A Beautiful Mind, where the figure of John Nash is portrayed as a paranoid schizophrenic working in some capacity for this same establishment. However, in Nash's case, he too had deep state connections that may have justified his paranoia – did he at one time work for the NSA?9 Perhaps Hughes was justified in his paranoia, given the intimately details of secret plans he had, but the curiosities do not end there. The occult comes into play with the figure of Crowleyan figure Jack Parsons, who worked for Hughes. Parsons is famous for inventing the jet-propulsion engine, which Scorcese has Hughes reference towards the close of the film, deeming rockets the "future." Hughes was thus intimately aware of the esoteric and occult principles Parsons based his rockets on, including a desert ritual attempting to invoke the Antichrist known as the Babalon Working.

Another tidbit worth considering is Orson Welles' magisterial Citizen Kane was originally intended to center around Hughes, and not William Randolph Hearst. Welles, however, did include a section of his masterful F for Fake on the hoaxed biography of Hughes by Clifford Irving, adding more mystery to the mix.

Regardless, Hughes is emblematic of the intelligent, hard-working driven country guy who fell into the ranks of the establishment, only to find his life ruined. This is not to say he was a pure victim, but the contradictions and paradoxes around Howard Hughes are like the contradictions and paradoxes of America itself – like a sincere child that signs onto a dark establishment with nefarious ends, and signing on to evil always results in self-destruction. Scorcese's film is an accurate depiction of that paradox, and hints at all the connections I've outlined above. Likewise, F for Fake highlights the extent to which fraud and deception also play a central role in this curious matrix between the worlds of Hollywood and intelligence, and the con men that bridge those two planes.

The Godfather Trilogy

Based on Mario Puzzo's novel of the same name, Francis Ford Coppola's The Godfather is known as one of the greatest films in cinematic history. Though the third installment has noticeably lower critical ratings, the trilogy as a whole is worthy viewing, but for JaysAnalysis, we will be taking a different route. Not only is the trilogy an enjoyable aesthetic experience, reviewing the series of late, I was surprised to see so many parallels to real-life conspiracies, assassinations, skullduggery and deep state agendas I've researched the last decade.

The Godfather garnered numerous awards in 1972, including Best Picture and Best Actor for Marlon Brando as Don Corleone, but the real message of the trilogy has gone unnoticed to most – it is my thesis the trilogy is an excellent insight into how the management of the world actually plays out. No, the world isn't run by Italian mafiosos, and there are families much older and with much more clout than the composite Corleone Family in the narrative, but the means, methods, and machinations of the Family are how the world is really run.

The first insight is the family's interest in maintaining their genetic lineage, tradition and culture through the preservation of their bloodline. An idea lost to most nowadays in our postmodern nihilism, the Don and his brood are not interested in outsiders. In fact, the Sicilian Mafia has always required a "made man," that is, someone who is brought into the family network, be full-blooded Italian (though these ideas may have become relaxed). Immigrant families learned long ago the local police and law enforcement were often corrupt and bought off, so the need for internal justice among displaced groups was natural. This pragmatic insight occurs often in the film, as Michael, Don's youngest and heir to the Family, tries to explain to his bewildered American wife Kay the importance of the Family.

As the Corleone's rise to power, it is crucial to understand it is not achieved through honest, hard work, but through being clever, bold and mastering various black markets. Unwilling to descend into the drug trade, at a meeting of the bosses, Don Corleone explicitly refuses to enter into the drug trade unless the specification of no selling in Italian neighborhoods is met. Blacks, the bosses contend, were foolish enough to allow drugs in their areas without grasping the consequences. In other words, in this scene The Godfather shows that prohibition, criminality and the phony "drug war" and its endless litany of state programs are worthless. The prohibition of the vices allows the black markets to control those trades through government complicity.

While I'm not advocating anarchism here, I am trying to illustrate the mindset of the immigrant populace as portrayed in the film, and their mafia bosses. If the police and legal system are notoriously corrupt, justice could only be had internally. From the perspective of the bosses, the war between mobsters and cops or mobster and mobster is no different from any other war between one nation and another nation. In other words, the mafia dons recognized the point Augustine long ago made – "government" is quite often just another organized gang of thugs who legalize theft and criminality. It is worth noting that eventually the Corleone family is called before congressional hearings to account for their operation, yet even by 1951, according to J. Edgar Hoover, the mafia was explicitly said to not exist (showing public naiveté).

Growing beyond the confines of New York, the Corleones make the move to Vegas, projecting the future of the rising casino economy to be a boon. Ousting rival Jewish mafia dons, the Corleone discover shooting cops is not longer the way to achieve their agenda, as they require the vote of a Senator for the acquisition of certain casinos. Instead, they find blackmail through the network of their whorehouses to be far more useful in playing to the vice of an already crooked and arrogant Senator Pat Geary. We thus see the Family progressing beyond local enterprise into national ventures, as they start to use intelligence agency style espionage – a key factor in their rise. On top of that, Michael Corleone has killed all his rivals by this stage, and is the quickly becoming the chief Don as others are gradually eliminated. Also insightful is the deep connection of the mob with the rise of Las Vegas, which Coppola masterfully captures.