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Science Fiction

and the Alien Agenda

Is popular entertainment being used to prepare us for First Contact?

A GRADUAL CONDITIONING PLAN would seem necessary if the UFO Cabal wishes to avoid the worst possibilities of everyone totally freaking out — as so many did during the celebrated Orson Welles’ War of the Worlds (1938) broadcast which terrorized large sections of the East Coast the day before Halloween, though that probably had more to do with pre-war fear of the Nazis than fears of things celestial. Perhaps, as some have speculated, the history of science fiction in cinema reveals the Cabal’s changing attitudes. Certainly the course of sci-fi flicks through the latter part of the twentieth century follows the rumored developments of our relations with extraterrestrial species surprisingly well.

This program of slow, indirect indoctrination is said to have begun with the classic science fiction film, The Day the Earth Stood Still (1951) which first revealed the godlike Nordics and their worries about our nuclear playthings.

That there could actually be some sort of real basis for the movie might have been indicated by a peculiar statement the producer of The Day the Earth Stood Still in a “making of” documentary included on the recent DVD release. There, producer Julian Blaustein, interupts his own story of how Spencer Tracy (!) wanted to play the part of the Christ-like alien, Klaatu, a/k/a "Mr. Carpenter". Blaustein says:

"We already had the design of the spaceship, based on [sighs audibly] known facts about space travel, which were limiting facts, but you know, like flying saucers and the physics of levitation in space, getting it off the ground. So that's where we got the design."

"The physics of levitation in space?" This sounds strangely like the film-makers were almost more interested in how saucers flew than their appearance. Perhaps the movie's Einstein-like character of Dr. Barnhardt had the right equations after all, or could there have been someone leaking something somewhere in Hollywood?

The Day the Earth Stood Still, coming at the height of the Korean War, was unashamed in suggesting a super-national authority, a UN on steroids with control of military resources to which all nations must surrender sovereignity, a New World Order to guarantee the peace of the planet.Yet even this anti-war movie played on popular fears of the Red Menace. On some versions of the poster, for instance, the wrinkled hand shown grasping the world across the North Pole is colored a distinct scarlet.

But as the Cold War got frostier, despair over the growing potential of atomic doom deepened. Yet according to the evolving myth, however, the sea-change in sci-fi movies was not due to the threat of Commie invasion, but the appearance of another alien race.

After the Nordics' supposed rivals, the Greys, supposedly contacted Eisenhower later on in that decade, Earth vs. the Flying Saucers (1956) was released. Along with memorable scenes of saucers crashing into Washington landmarks, this remarkably paranoid but overlooked film includes abductions, a landing at a desert launch facility suspiciously like the Holloman encounter mentioned below, mind control, the development of anti-saucer raygun technology, even night vision, and oh yes, a briefly-seen alien which is extremely Grey-like.

In one version, though the invaders are ultimately defeated and the hero-scientist and his beloved secretary finally get to take their honeymoon, the movie jarringly ends with the bold banner, “WATCH THE SKIES!” as if a celestial Pearl Harbor could happen at any moment.

The Strange Case of Steven Spielberg

Of all the directors and producers in Hollywood, few have been involved in as many projects involving aliens as Steven Spielberg. His visions have done more to define the images of extraterrrestrials in popular culture than virtually anyone. Beyond the well-known "classics" Close Encounters and ET, Spielberg was also the producer for the Men in Black movies, the mini-series Taken (2002), about multi-generational abductions, *batteries not included (1987), about benign mechanical aliens, and the recent remake of War of the Worlds (2005).

His career illustrates a clear arc from hopefulness to horror, which, if the rumors of his inside knowledge are true, might not be a good sign. Especially as it also includes debunking the largest mass sighting of a UFO in modern times.

Sometime after the supposed treaty with the Greys came the childlike optimism of Steven Spielberg’s Close Encounters of the Third Kind (1977) with its depiction of a secret first contact with kindly Greys both small and large. (Interestingly, paranoids should note that the little boy central to the plot is identified by covert agents BEFORE his abduction.)

Not only is the Cabal's coverup and collusion with private industry illustrated, but hints are given as to the nature of the Cabal. Their logo, for instance, is a device very reminiscent of the Illuminati "eye in the triangle" bearing a starburst and the word "MAYFLOWER". A play on "Majestic" perhaps, or just a reference to the heavenly pilgrimage of Roy Neary? In any case, it is the only logo at the "Dark Side of the Moon" landing spot — no American, or for that matter, UN flags in evidence, just a solitary white banner sporting a black triangle...

Disney references, of which Spielberg is famously fond, in this film come from Pinnochio. The haunting alien musical phrase seems to have been derived from the first notes of the song, "When You Wish Upon A Star", which seems appropriate enough. However, since the fairy tale is one where a wooden puppet is transformed by a preternatural power connected with a star (the Blue Fairy) into a real boy, what is Spielberg trying to tell us? That the species will only be fully human when we finally confront the alien reality?

This movie has a number of curious clues, such as programming cues into abductees and the Cabal's use of biological weapons as cover, as well as very accurate depictions of the effects of brushes with alien spacecraft, including electical anomalies and radiation burns. This is not too surprising as the late Dr. Allen J. Hynek not only advised the director, but has a cameo appearance during the climactic encounter sequence.

Perhaps this was based on the same rumored landing at Holloman Air Force Base as the one in Earth vs. the Flying Saucers. There’s an apocryphal story that President Reagan commented to Spielberg during a White House screening of Close Encounters that only a few people in the room knew how true the movie actually was.

In Spielberg’s later ET: The Extra-Terrestrial (1982), humans are the bad guys menacing the peaceful space creature. This, however, marks the end of a very optimistic period when many ufologists believed that the long-awatied revelation was nigh.

Yet, in between these two films, something had already changed. Spielberg went directly from the success of Jaws and Close Encounters to his first – by comparison – flop, a comedy so expensive it took two studious to produce. The movie, 1941, was about post-Pearl Harbor hysteria, made in 1979. In a 1995 featurette, "The Making of 1941" included on the DVD, Spielberg says that he agreed to make the movie while he was working on Close Encounters. He, Bob Gale, and Robert Zemeckis, the writers, recounted how they reworked the screenplay during the production of CE3K in an office in the very hanger where Spielberg was filming the mothership scenes. 1941, as the writers acknowledge, was based in a large part upon the "Battle of Los Angeles". This was an incident that occurred on February 25, 1942, when lights over Los Angeles were thought to be a number of incoming Japanese bombers. There was a blackout and a lot of antiaircraft fire was expended, but no Japanese planes were shot down.

The Army defended the action, though soon it was attributedto "jittery nerves" when no wreckage was forthcoming. In 1974, a memo was revealed that Chief of Staff General Marshall wrote to President Roosevelt, saying it was real and that as many as 15 aircraft might have been involved.

Curiously, neither Spielberg nor the writers make ANY mention of UFOs whatsoever in their discussion of the "air raid". Not even a single joke. Yet they were working on the script while literally surrounded by "Close Encounters"! How could it be that they didn't make a connection?

It does seem peculiar that Spielberg would appear to be blithely clueless about the link between the two films all the while.

By the way, the Disney reference in 1941 is to Dumbo, the cartoon about a flying elephant. Though the movie was indeed released around the time of Pearl Harbor, could this be a reference to things seen in the air that should not be there? In any case, the Battle of Los Angeles has been blamed on "lost weather balloons". Why not? It worked so well for Roswell...

So Steven Spielberg went directly from filming what is arguably the greatest UFO movie of all time directly to debunking the greatest sighting – and nobody even noticed.

1941, however, was immediately followed by another blockbuster: Raiders of the Lost Ark (1981). He resisted all temptation to put aliens in the two following sequels. However, aliens in everything but name appear prominently in the latest installment, Indiana Jones and the Kingdom of the Crystal Skull (2008). Along with a mention of Indy's role at Roswell, the plot involves psychic powers. Cate Blanchett, playing the Natasha Fatale-type villainess, reveals not only her own powers, but Stalin's plan to conquer the world with them. In any case, the crystallized skeletons themselves revealed at the end are nothing if not alien. And there is a brief glimpse of something that looks like Bob Lazar's infamous "Sports Model" UFO. So the description of them as "interdimensional beings" is going to fool nobody.

However, in the "making of" featurette included in the DVD, Speilberg claims he did not want aliens in the picture at all! Supposedly, it was George Lucas that insisted on them — the original title was to be "Indiana Jones and the Saucer Men"!

However, Speilberg apparently has not lost all interest in aliens, as he is said to be involved in a new TV series. More details will be provided as they appear.

A few years later, Spielberg then went on to film ET: The Extra-Terrestrial with its grim vision of a ruthless, frightened humanity hunting down the gentle alien. Since then, his vision — and that of movies in general — has only grown darker. In the mini-series "Taken", the Christ-role, like that of man-child Roy Neary, is fulfilled by a little girl, taken away by the aliens at the end because of the misunderstanding of humanity, much like Klaatu was. Yet even this was hopeful, compared to what was to follow.

The Men in Black comedies (1997 and 2002) which Spielberg produced showed the Earth as a galactic port of call and refuge, a fact which must be concealed from human society to preserve our comfy illusions. Whereas the first film was disturbingly bleak with its tacit premise that no mortal could long withstand the stress of knowing our cosmic insignificance, the second was slightly more optimistic about our abilities to handle it all.

In any event, the real MiBs must have gotten quite a chuckle out of them, for with these films, those sinister figures of UFO-lore have been transformed from evil agents of repression into the enlightened guardians of Humanity. Trying to improve their image before they finally have to go public, perhaps?

Finally, in 2005, Spielberg recast H. G. Wells' War of the Worlds. Here, though, the human-devouring aliens do not come from the sky, but from under the Earth. But other than that, it is as if the optimism of the late 70s never happened.