Is Hollywood Prepping Us For Globalist Dystopia?
I’ve been considering an eerily sobering concept of late, and that’s the possibility that the entertainment media is influencing Americans even more and even more insidiously than the extent to which savvy folks like you and I are already aware.
Most of us who have either drastically curtailed or eliminated our exposure to network television (and even cable TV in many cases) recognize the fact that this medium has become a pernicious propaganda mill and social-engineering platform. That said, what I plan to discuss here goes beyond the boilerplate leftist doctrine (man-made climate change is real, homosexuality is wonderful and half of America is homosexual, Christians and conservatives are stupid and intolerant, Muslims are peaceful, etc.) with which we are already familiar.
Specifically, I’d like to focus on a phenomenon that may appear quite innocuous as enshrouded in its entertainment value, but which could be far more malignant than the above referenced liberal tripe. If the postulation which follows is in any measure accurate, the future our socialist overlords envision for average Americans is a great deal darker than most of us can imagine.
Despite the fact that high drama and conflict are integral components to many forms of entertainment media, I have nevertheless taken notice of the fact that in recent years, a singularly disturbing theme has begun to dominate some of the most popular TV shows: This theme consists of settings in which evil has essentially prevailed, and humanity – or remnants thereof – are trying to scrape by as best they can, usually under pretty ghastly circumstances. In these productions, it has become quite typical for well-developed and even beloved characters to get gruesomely killed off and for moral ambivalence to rule the day.
The most notable (and likely the most successful) of these is probably “The Walking Dead,” the AMC zombie apocalypse series that has run for nine seasons. “The Strain” is a horror series created by Guillermo del Toro and aired on FX. This jewel features an America that has been completely taken over by vampires – and they’re definitely not the sexy vampires of Anne Rice or “Twilight.” This show also features the onset of a nuclear winter, so the audience gets two apocalypses for the price of one.
“The 100” is a post-apocalyptic science fiction drama that airs on The CW network. It chronicles the story of a group of people who return to Earth from an orbiting space station three generations after a nuclear Armageddon. This one actually had some potential for an uplifting plot, but became increasingly depressing after most of the characters who possessed any sense of decency were either gruesomely killed off, committed suicide, or turned evil. Some of these were very young people, which made it even more disenchanting. As circumstances grew more and more hopeless for the protagonists with each passing season, one had to wonder what the show’s producers were actually thinking.
If you’re wondering, the reason I place so much emphasis on TV shows rather than films here is that with the former medium, its purveyors have the opportunity to expose their audience to programs on a weekly rather than a one-shot basis. That said, Hollywood’s massively successful “The Hunger Games” and “Divergent” films do fall into this category, and Netflix has produced a few series that qualify as well.
All of this may seem of little consequence to those who’ve entirely abandoned broadcast television, cable and who view pretty much anything produced in Hollywood with a jaded eye. However, in the context of the entertainment industry’s penchant for social engineering – in short, grooming their audience for conditions in which they anticipate them to ultimately be placed – it should more than give pause.
After all, if Hollywood is in the business of winning hearts and minds apropos the normalcy of androgyny, the reality of anthropogenic climate change and the like, why wouldn’t it be reasonable to surmise that they might be preparing Americans for a time in which we are ruled by ruthless elite degenerates, clawing desperately through the wreckage of a global nuclear exchange, fleeing cannibalistic hordes, or devastated by an engineered biological plague?
In the framework of how we already know the entertainment industry operates, the widespread cultivation of a fatalistic zeitgeist would simply be par for the course.
The idea that Hollywood is influencing Americans in this manner is by no means a new one. While many of those who subscribe to the notion also hold that it has its genesis in the designs of interdimensional, shape-shifting lizard people, I still believe that it merits examination. Whether we’re talking about institutional Gulf War Syndrome denial, unethical medical procedures conducted on Americans (such as the Tuskegee syphilis experiment) or orchestrating the Arab Spring (which gave rise to the death, maiming and enslavement of tens of thousands in the Middle East and Africa), those in power in America have proven that they are eminently capable of operating in a manner consistent with any James Bond or comic book villain.
We also know that most of our political leaders are very much on the same page as those in Hollywood and the shadowy globalist power players who are running the game.
Couple the foregoing with so many of the machinations of the Deep State having been laid bare over the last few years (some of which had previously been called the stuff of the tinfoil hat crowd) and the widespread information racketeering of online tech giants, the proposal that we are being impelled down the proverbial chute to impending slaughter is really not that much of a stretch.
Article posted with permission from Erik Rush