Category Archives: Disinformation

163: Hollywood Prepares the Public for Contact (Part 3)

Hollywood’s optimistic view of ET contact was continued into the 1970s and early ‘80s with Steven Spielberg’s Close Encounters of the Third Kind in 1977, followed by ET, The Extraterrestrial in 1982. As reported by author Bruce Rux, Jenny Randles [a British UFO researcher] was told by a high-ranking individual in the House of Lords that Hollywood films, such as Close Encounters of the Third Kind were part of an educational program, “financed by the right money being placed in the correct hands at the appropriate time.”1

Rux went on to say that “Jimmy Carter, who included a promise of full disclosure of UFO information in his election campaign, spent twenty million dollars on ‘research’ of the topic that almost certainly went into the dissemination program, as is evidenced by the number of excellent movies on the subject that came out during his term as president.”

Was this shift in Hollywood’s attitude toward space aliens, from the rubber-suited space monsters of the 50’s and early 60’s to the more realistic offerings of the late 60’s through the early 80’s, a reflection of a change in thinking among those in charge of the UFO cover-up? It does correspond with the change in administrations, from the Eisenhower/Nixon years to Kennedy/Johnson. (It seems that Nixon, Ford and Carter continued the trend.) Keep in mind that movies take a long time to make. From the first draft of the script to the first pubic viewing of a high budget, full length motion picture can typically take four years or more. (Sequels are often made in two years, but that’s to best take advantage of the public’s memory of the original and they often suffer as a result of the haste in which they’re made.).

During the Clinton administration, however, Hollywood’s opinion of ETs changed again, with the movies Independence Day (1996) and Mars Attacks (also 1996). During the Bush administration, we saw continued negative spin on the subject of Alien contact with the remake of the 1950s sci-fi invasion classic War of the Worlds in 2006. In each of these movies, all that the aliens want to do is to kill us.

The first major media offering about Alien Abduction was not seen in movie theaters, but instead on TV screens in millions of homes across America, with the Sci-Fi Channel’s broadcast in 2002 of Steven Spielberg’s Taken. At a staggering cost of 45 million dollars, the 14 hour long mini-series was gripping television for most Americans who tuned in, but real Abductee/Experiencers didn’t see much that was familiar to them reflected in the script. Almost everything depicted in the series was made up out of whole cloth. (I wrote a review of Taken years ago and might dust it off and post it here sometime soon.)

Interestingly enough, Mr. Spielberg seemed to have had little, if anything to do with the production. Aside from his name on the title, there is hardly anything at all to connect him with the project. He didn’t write it, didn’t direct it and didn’t produce it. It appears that he didn’t even visit the set!2 He certainly didn’t need the money, so why did he allow his name to be associated with a project with which he had no creative connection?

Even the remake of War of the Worlds was a less than stellar offering from the world’s foremost moviemaker. Although he did direct this one, his heart obviously wasn’t in it. The finished product was a polished, technically well made movie but, aside from being a more faithful rendering of the book than the original movie, it was utterly without creative merit, and this from the most creative mind in Hollywood. The motivations of the characters just weren’t believable. When the streets of the city begin erupting giant alien eggs, with concrete flying everywhere, the Tom Cruise character with his little daughter in hand tries to get closer to get a better look, instead of backing off from an obviously dangerous situation. But the worst is the ending. Early on his son is apparently killed when he ventures to close to the Aliens, but at the end of the movie, we’re supposed be overjoyed see that he somehow miraculously survived to make it all the way to grandma’s house. (What a cop out!)

The question has to be why. Why did Spielberg allow his name to be used to promote Taken, when he apparently had nothing to do with the project, and why did he even bother to remake War of the Worlds, a Science Fiction classic, if he didn’t work to make it believable?

I suspect the answer is this. Any up-and-coming movie director is eventually approached by the intelligence community with a Faustian proposal. The rising young star is wined, dined, flattered and given inside information about the “real” Alien presence on Earth. He is then asked to help prepare the public by agreeing to make a movie on the subject. For a young Steven Spielberg flush with the success of Jaws, to be asked to make Close Encounters of the Third Kind by the government as a prelude to official disclosure must have seemed like the opportunity of a lifetime.

His Close Encounters of the Third Kind, and E.T., the Extraterrestrial were enthusiastic offerings. But when the “spin” from Majestic turned, and Hollywood’s job was to make space Aliens objects of fear, Spielberg’s heart wasn’t in it. His pact with the intelligence community was something he couldn’t walk away from, however, so he fought back passively by having nothing personally to do with the production of Taken (other than give up his name), and by doing a lackluster job with War of the Worlds.

I believe that another possible example of this kind of collaboration between Majestic and young filmmakers could be that of M. Night Shyamaian, who made Hollywood sit up and take notice, first with The Sixth Sense and then Unbreakable. Then, for his third major film project, he made Signs, a film starring Mel Gibson about crop circles and (sigh) malevolent invading Space Aliens. A clue as to unseen influences in the making of that movie might be the design of the circle that was depicted. It’s just too simplistic. Real crop circles are very complicated pictographs that can’t be duplicated in the middle of the night by drunken frat boys using wooden planks, which is the explanation being offered in the disinformation media. With the state of Hollywood’s special effects, it would have been easy to show a complex design, but a realistic depiction of crop circles would not have served Majestic’s interests.

So will it be “Space Brothers” or “Space Invaders?” It’s the invasion scenario that seems to be playing out in movie theaters at present. We’ll have to wait and see what the Obama administration will help produce in the way of Science Fiction offerings for TV and the movies. __________________________________________________________________________

1 Hollywood Vs. the Aliens: The Motion Picture Industry’s participation in UFO Disinformation, by Bruce Rux; Frog, Ltd., Berkeley, CA; © 1997 by author; p.168.

2 The disk of bonus features in the DVD collection of Taken offers many behind the scenes video clips, but none showing Spielberg on the set. One would think that if there had been any such footage available to the editor, he would have certainly used it. There is an interview with Spielberg sitting in front of a star field that is included, but he only talks about his views on space travel, aliens and the like, and never even mentions his mini-series, “Taken.”

162: Hollywood Prepares the Public for Contact (Part 2)

While Hollywood’s take on Alien contact in late 50s and early 60s was definitely negative, many of the films of that era foreshadowed elements of the UFO phenomenon years before they surfaced in the public consciousness. Perhaps the best example of this (at least as concerns Alien Abduction) is, Mars Needs Women, a low budget film released in 1961. Presented in a straight forward documentary style, it was surprisingly accrete in its treatment of Alien Abduction, four years before the case of Betty and Barney Hill was made public.

In the movie, the Air Force intercepts a message from the planet Mars and translates it to read, “Mars Needs Women.” At first it’s thought to be a joke, until women actually begin to show up missing. Martians appear at an airbase to tell the military (and the audience) that they need to take human females to help them reproduce, because Mars is a dying planet. The military accuse them of overt actions of abduction and war, for which the aliens apologize, but their need outweighs earthly concerns and they display their superiority, warning the Air Force not to interfere. The generals are left fuming and impotent. The press uncovers the story and the government lets them publish it. It’s interesting to note that in this movie the public reacts with calm and reasoned discussion of the issue, instead of with panic as depicted in other science fiction films of the period. The government uncovers a disturbing fact, though. The Martians are using hypnosis on the people they take to erase any memories of the experience. In the end, the military is able to drive the aliens from our planet and Earth’s women are safe once more.

For even the most casual student of the subject, Mars Needs Women appears to be a “textbook” summary of what we know about Alien Abduction. Mars is thought by many to have supported intelligent life in the past and that alien bases might still exist there. The red planet features prominently in speculations regarding the origins of the ETs. The sexual aspects of the phenomenon are also well known, and some Experiencers have reported being told that the aliens have lost their ability to reproduce and need our help to do so. This is exactly what the Martians told the Air Force in Mars Need Women, when they apologized for what they had to do despite the objections of Earth’s leaders. And, finally, during a time when the public regarded hypnosis only as a parlor game, the movie specifically describes it as the method the aliens use to hide their interactions with humans.

The latter half of the 1960s saw two noteworthy Science Fiction offerings. In 1966, a surprisingly intelligent space opera appeared on television. Star Trek (the original series) was considered something of a disappointment after only three seasons, but with 79 episodes in the can it was at least possible to syndicate the show, earning additional revenue and making a modest profit. In perpetual reruns, however, it became immensely popular and a cash cow was born for Paramount Studios. A decades long TV dynasty was born, with Star Trek the Next Generation, Deep Space Nine, Starship Voyager, and finally, Enterprise.

The most notable feature of Star Trek was its optimism. The original series was begun just three years before Neil Armstrong guided “The Eagle” to a soft landing on the Moon. It presented a future for mankind where we live and work alongside other sentient creatures from “out there.”

In the original pilot episode, first rejected by the studio and then later salvaged as a series of flash-back scenes in a pair of back-to-back episodes collectively called, The Cage, the Captain is “abducted” by short frail beings with large heads, who can make him see anything they so choose. The Grays are, of course, short and frail in comparison to us and they also have large heads. Their ability to alter what we see and hear to create a false memory of what is actually happening is well documented. Yet this pilot episode was filmed a good year before the publication of The Interrupted Journey, which was the first widely publicized abduction case.

 Two years after the premiere of Star Trek, in 1968, Stanley Kubrick’s mind expanding, 2001, A Space Odyssey, was released in theaters. The story of Mankind’s quest to the planet Jupiter, and the transformation and rebirth that awaited there for the sole surviving astronaut was both ground-breaking in its cinematic scope and unsettling to many of its original audience, who just didn’t understand the ending, or what that monolith was all about (my father included). The suggestion of evolutionary manipulation by Higher Beings, (represented by the monolith) of an ape to produce ape-man who evolved into modern man (the astronaut) is probable very close to what really happened.

[To be continued.]

161: Hollywood Prepares the Public for Contact (Part 1)

161: Hollywood Prepares the Public for Contact (Part 1)

The news media of all major countries serve to act as a propaganda tool of their respective governments, especially with issues that are deemed to be important to national security. Going to war, for example, would be impossible for any country without its media beating the drum to insure that their young men flock to the recruiting stations. The same holds true with UFOs. When the subject is to be treated with ridicule and scorn, our news media does a superb job in keeping any reasoned public discussion on the topic to a minimum. But when it comes to preparing the public for the inevitable end of the UFO cover-up, either by the government or the ETs themselves, Majestic uses television and the movies to put its spin on the subject of Alien contact.

Shortly after midnight on July 20, 1952 a fleet of UFOs buzzed Washington DC and the White House and was tracked on several radar screens. They repeated their aerial display over the nation’s capitol six nights later. The hoopla that followed forced the creation of a blue-ribbon committee called, “The Robinson Panel.” Its stated mission was to investigate sightings of UFOs and report its findings to the public.

In January of 1953, The Robinson Panel released its recommendations. After a quick glance at a small number of reported sightings, the panel publicly proclaimed that UFOs were the product of swamp gas, temperature inversions, and the tried and true planet Venus, nothing to be concerned about. Secretly however, they recommended to the CIA, in direct opposition to their public statements, that efforts be made to control both public opinion on the subject, and the field reporting of all UFO sightings. Regulations were written and implemented to insure that sightings were only reported to the agencies with a need to know, while a group named the “Psychological Strategy Board” was charged with developing a working project to educate the public on the subject of UFOs through the “mass media such (as) television, motion pictures and popular articles.”

The CIA, who had been given complete control of the UFO cover-up, had been warned by the Robinson Panel that the public needed to be “educated” about UFOs, while the Brookings Institute thought a cultural disaster was possible following any contact with more advanced civilizations. As a result of these two studies, the official policy that took shape in the mid-1950s was one of complete secrecy about the reality of UFOs and their occupants on one hand, and a molding of public opinion about Alien contact (through the manipulation of media science fiction) on the other           . . . just in case the secrecy was ever ended for some reason. It was all turned on its head. The “truth” about UFOs that was presented to the public was a fiction, while the fiction produced for movies and television about Alien contact often revealed much of the truth, although be it with a “spin.”

In the mid 1950’s it was easy to put a negative spin on the subject of contact with Space Aliens, because the Red Scare was in full swing and the public was already paranoid about a possible Communist invasion. Instead of the specter of wild-eyed Marxists destroying our cities and raping our women, it was bug-eyed space aliens. They were horrible examples of moviemaking and weren’t meant to be realistic, except to the most brain-dead of audiences. In this way, any reasoned discussion on the subject of UFOs was made to look ridiculous. Aliens were just bad special effects in bad science fiction movies, nothing to be concerned about.

[To be continued]

118: Advice to the Newly Awakened (Part Two)

(From Pages 254 – 257 of Abducted by Aliens, By Chuck Weiss)

One form of harassment, which at first you probably wouldn’t even recognize as such, appears as just a string of “bad luck.” Misfortune of course happens naturally, but in cases where it’s Majestic manipulating from behind the scenes, your personal crisis is meant to isolate you and keep you occupied with survival issues. That way you won’t have time to devote to things like attending UFO conventions or writing a book about your ET experiences.

Another form of harassment is what I call “Red Herrings.” I described an example of this earlier, when Majestic agents came into my apartment while I slept and disfigured a religious pendant of mine. I would lay it carefully on my night stand before retiring and on two occasions I awoke to find it charred and twisted. (I replaced it after the first time and they did it again.)   I realized later that it was meant to make me believe that the ETs, for whatever reason, were reacting violently to my religion. This kind of stunt can only work if the target isn’t yet aware of Majestic’s presence in their life. Once someone understands that they’re under government surveillance, then tactics like that can’t be made to work any longer and the harassment is bumped up a notch.

It will likely now be of the variety designed to make you act paranoid. If you’re talking about UFOs at all, Majestic will want you talking crazy. If you’re obviously agitated when you tell people the government is spying on you, you might sound crazy enough to attract the attention of the men in white coats and then there goes your credibility.

Examples of a low-level form of this type of harassment are the “clicks” that many people hear on their telephones when they suspect their conversations are being recorded. The truth is that Majestic wants you to hear those clicks and to know that they’re listening so you’ll talk “crazy” to your friends and family. It’s not that they’re working with antiquated mechanical equipment that makes noises. If they didn’t want you to know they’re there, you wouldn’t hear anything.

If for some reason you’re on their “special” list, then watch out. It can get ugly, but try and keep your cool nonetheless. If you find yourself under psychological attack, know that acting freaked-out is exactly what Majestic wants you to do. If instead you can remain calm and rational when you talk about your harassment, you’ll be fighting back in the most effective way possible. Whenever I attend UFO conventions or support groups, or in any way present myself as an UFO Experiencer in public, I dress in business attire. It’s amazing what being well dressed does for one’s credibility.

Many an Experiencer has had an “aha!” moment, when they thought they had put some pieces of the puzzle together, only to find out later that they didn’t really fit. If you think you know the answer, you probably don’t, at least not consciously. In other words, I recommend suspending judgment on most things. Stanton Friedman, noted UFO researcher and author, advises the same. He calls it his “Gray Box.” If he doesn’t know for sure, it goes into the Gray Box to await any further information on the subject.

Be open-minded, but be critical at the same time. There is much disinformation in UFOlogy. I’m inclined to believe Jim Keith when he said, “There are a number of accounts of the military attempting to infiltrate public UFO research organizations, apparently in an attempt to monitor and disinform the field, and to delude the public at large on the subject of UFOs. On a number of occasions the UFO field has been infiltrated by military intelligence personnel, and well-known UFO ‘researchers,’ possibly even the majority of the prominent ones, have loyalties that seem not to reside with the UFO research community or with the truth.” 36

During the late 1960s, there were so many FBI agents who had infiltrated the Black Panther Party that they were literally informing on each other! I’m sure that the UFO community receives the same overkill treatment from Majestic. They have an unlimited Black Budget from which to draw and can afford to fund any scheme their little, reptilian minds can hatch. (I’m sorry. Is my bias showing?)

I’m just saying be skeptical. Believe half of what you see, half again of what you hear; and put the rest in your Gray Box.


 36    Keith, p. 33.