22 June 2013
As summer heats up, so does the Hollywood box office. With so many remakes and sequels being made, it seems that no original plot can be written in Hollywood these days. World War Z is no exception; it is based on the zombie-apocalypse book of the same title by Max Brooks.
And like most blockbuster “disaster movies”, World War Z offers viewers a tightly tailored agenda as to who they should look to for guidance and safety during disasters. This is typical of end-of-the-world entertainment and a key component of predictive programming, as we saw in Contagion Children of Men, Outbreak, and many others.
The World Health Organization (WHO), FEMA, and the Centers for Disease Control (CDC) are typically glorified as saviors, even though local populations are often decimated or under strict control of local authoritarians.
World War Z capitalizes on a loosely defined “zombie outbreak” that is sweeping the planet at a ferocious speed with the main star, Brad Pitt, portraying a former United Nations investigator. Coupled with the United States Navy, the reluctant hero Pitt goes from retired house-husband to full-blown, globe-trotting diplomat within a few hours.
The film uses the zombie outbreak as a means to sensationalize the pandemic and ensuing global martial law; viewers begin to equate such tactics with worst-case scenarios, and if global catastrophe were to ever happen, the consumer-herd will go along with whatever authoritarian plan is demanded, like good little sheep, awaiting their heroes at the United Nations, FEMA, and the World Health Organization to save the day.
Desensitizing Us to Immeasurable Violence
While the sheer number of humans portrayed as “infected” seems unprecedented compared to most zombie-style flicks, World War Z finds a strange balance between the indiscriminate killing of tens of thousands of our fellow humans and in not filling the screen with blood and gore.
There are multiple scenes, such as the one depicted here, in which thousands are killed, desensitizing the viewer to large-scale violence, and yet, I must point out that there is a distinct lack of carnage and torn, bleeding flesh, which is very surprising for Hollywood. Throughout the various scenes of immeasurable violence, the viewer is never quite exposed to seeing the actual deaths of so many – instead, it is implied, and understood, somewhere in our minds, that dozens of men, women, and children were just shot to death.
I’m not sure which is worse – the depiction of a grotesquely infected “zombie” being slashed with a large meat cleaver, spewing zombie blood everywhere, or the ultra-realistic, albeit somewhat blurred and distant masses of teachers, construction workers, children, and housewives being shot by men in various uniforms.
Predictive programming is a subtle form of psychological conditioning provided by the media in order to acquaint the public with planned societal changes to be implemented by those in power. If, and when, these changes are put through, the public will already be familiarized with [the concept] and will accept them as ‘natural progressions’; thus, lessening any possible public resistance and commotion. Predictive programming, therefore, may be considered as a veiled form of preemptive mass manipulation or mind control, courtesy of our puppet masters. – Alan Watt
The United Nations
The movie, as stated, relies heavily upon agencies such as the World Health Organization and United Nations to save the planet from certain doom.
Strangely enough, Brad Pitt, who not only stars in, but produced the movie, has very close ties to these very same organizations; he is married to Angelina Jolie, the former Goodwill Ambassador for the United Nations Refugee Agency. She was recently promoted to Special Envoy of United Nations High Commissioner António Guterres:
In her new and expanded role, she will be focusing on major crises resulting in mass population displacements; undertaking advocacy and representing UNHCR and Guterres at the diplomatic level; and engaging with decision-makers on global displacement issues. –United Nations HCR
While I applaud Jolie’s efforts in promoting diplomacy around the world, as well as Brad Pitt’s gallant effort to help rebuild New Orleans after Hurricane Katrina, there is another layer to their fame. The two of them are most certainly privy to interesting cocktail parties of the world’s elite, and as such, rub elbows with some of the most powerful decision makers.
As a member of the Council on Foreign Relations (CFR), a think-tank for America’s war machine, Jolie parades around the world as a promoter of peace and unity – on the outside. She fancies the term, “humanitarian intervention” a lot, but as we see in Libya, Afghanistan, Iran, and soon, Syria, “humanitarian intervention” often entails imposing a strict no-fly zone, as well as sanctions that prevent food and medicine from reaching those in need.
I can’t help but notice these reccurring “humanitarian” roles for the two of them, both on and off screen. I would genuinely like to believe they are good people, but they are both so entrenched in globalist propaganda, that it makes it very difficult to do so.
Over the Horizon
The globalist organizations that manage our daily existence have been pushing this disaster agenda very hard over the past few years and there have been very few messages involved, aside from “prepare for a massive disaster” and “follow the orders of those in charge – it’s for your own safety.”
Immediately following the Boston Bombings, we witnessed a swarm of over 9,000 law enforcement officials descend upon Watertown, Massachusetts, conducting door-to-door searches, imposing curfews, and placing the Boston suburb under what can only be effectively described as martial law. When the search was over, most residents of the tiny suburb cheered for their armed oppressors protectors. The only thing missing was a ticker-tape parade.
Elsewhere in current events, we’ve witnessed the Department of Homeland Security purchasing over one and a half billion rounds of pistol ammunition; far more than the entire federal law enforcement agency would reasonably use in 15 years for training and drills.
Government preparedness literature is being pushed now more than ever, with initiatives such as Ready.gov, as well as state-sponsored activity for Homeland Security.
Here in Oklahoma, the radio airwaves are filled with commercials from Homeland Security, asking, “Are you ‘Red Dirt’ Ready?” – alluding to the state’s iconic red dirt. Contacts within the State Health Department and emergency preparedness sectors inform me they have ramped up efforts for continuity programs in both the public and private domain; hospitals, government offices, and critical infrastructure are being audited and tested in an ever-increasing frequency.
The Centers for Disease Control (CDC) even cashed in on the ever-growing zombie popularity with their recent novella about preparing for a zombie apocalypse. They believe it is an “entertaining” way to get the message of preparedness across. While I agree, to an extent, it is also eerily reminiscent of the Soviet-era “Duck and Cover” routines, as well as the iconic cartoons warning of nuclear blasts.
So, just what exactly is coming over the horizon that we are not privy to know? What is Hollywood, as well as other globalist institutions, trying to prepare us for? It this really as simple as making a buck from a blockbuster movie? Or is it all closely aligned?
Life often imitates art.