Appearing to conclude the Daniel Craig era of 007 reboots, SPECTRE not only premiered at the top of the world box office. As could be expected, the film also provides quite a few insights into the nature of real geopolitics and espionage in true Bondian style.
Let’s start with the theme of mass surveillance, a reflection of our own postmodern Panopticon reality. Even The Guardian has commented on the similarities of the SPECTRE plot with the supposed leaks of Edward Snowden regarding the NSA spying apparatus. Yet there are also serious grounds to question Snowden’s heroics; just as well, GCHQ was monitoring the population and spying long before there was any NSA in the US.Furthermore, the real NSA is not some government building, but is fused with the world’s largest tech corporations, monsters like Google and Apple. The notion that the NSA is a government-run entity which has gotten out of hand from public oversight is preposterous, as the private globocorps have been doing the real dirty data collecting for decades (and continue to do so, apart from Snowden’s so-called “leaks”). All of this will prove relevant, as we will see, in reference to the storyline of Sam Mendes’ latest installment of 007’s adventures.
With SPECTRE, we open with a long, single shot of Bond disguised in skeleton costume amidst the celebratory festivities of Dia de Los Muertos in Mexico City. 007 is smoothly striding through the streets with babe on arm, stalking the movements of a certain Sciarra. The scenery elicits numerous demonic elements, including devil masks, effigies, corpses, and Santa Muerte. Santa Muerte is the cartel-connected syncretistic cult often associated with MS-13, the group, as analysts have noted, operates both human trafficking and drug corridors. Some have even argued the U.S. intelligence establishment is in bed with certain select cartels, with the intent of controlling the black markets, while only “busting” operations of rival cartels not in bed with the Atlanticists. We even saw elements of this in the Fast and Furious arms scandal, as well as in the recent film Sicario, where FBI agents discover their attache role in a border operation is cover for a deeper CIA black op of taking out a rival cartel.
In Mexico City, 007 gets hints of Sciarra’s involvement with the cartel underworld as the plan to bomb a professional soccer match is planned. Bond then resolves to take out the conspirators, ending up in an impressive helicopter battle with an escaping Sciarra. Eliminating Sciarra at the behest of a secret, posthumous message from M (Dame Judi Dench), the only information Bond recovers is knowledge of the planned attack, as well as Sciarra’s curious Octopus ring. Also noteworthy is the room 007 uses to work his mojo on the Mexican beauty before this operation – it just happens to be Room 327 (or 237), which echoes the speculative documentary about the esoteric themes in Stanley Kubrick’s The Shining. While this is admittedly speculative, there is a connection between the real meaning of the “secret space program” I recently lectured on, Room 237 and Jay Weidner’s work, 2001: A Space Odyssey, and the present film, SPECTRE.
“The dead are alive,” the opening text of the film displays, and as the narrative progresses, we discover the meaning of this clue to be the same theme of the recent Mission: Impossible installment, Rogue Nation, that the members of the (variously titled in most spy franchises), Syndicate, Cabal, SMERSH, MAD, SPECTRE, etc., tend to be ghosts. In the spy world, a ghost is a spook, and spooks are specters, who appear to be dead. A fine way to become a ghost is to fake your own death; the CIA has a long history of doing this, with similar techniques applied by Soviet intelligence.
The iconic opening montage for SPECTRE hearkens to the prior three Craig-starred Bonds, with all the villains of our hero’s past appearing in shattered glass fragmentation, emblematic of the psyche and the assassin’s traumatic past. From Vesper Lynd to Mr. White, 007’s rabbit hole leads to the enigmatic cartel organization SPECTRE, symbolized by the octopus whose tentacles seemingly reach everywhere, even into Bond himself, as the source of all his ills.
Encircling the montage babes in strange tentacle-porn imagery, the octopus morphs into an All-Seeing Eye that here will represent the Panopticon surveillance state at the heart of the film’s narrative. Furthering transforming, the eye becomes a massive octopus with nine eyes, later explained in the film to be the “9 Eyes” of a rough equivalent of the G8 nations (here G-9) that offer their sovereignty up to the promise of security courtesy of CNS, the new UK version of the NSA intent on integrating mass surveillance from the most powerful nations. (Recall that the G6, G8 and G20 are creations of the Atlanticists and the Royal Society.)
Promising to prevent all future terror attacks and shut down all dated, dinosaur humint programs, the “00” licensed-to-kill program is also axed, resulting in a predictably rogue 007. With the introduction of SmartBlood (yes, nanotech SmartBlood), the outdated tech wizardry of the implantable chip Bond received in Casino Royale is replaced with its newer transhumanist equivalent. Tracked and traced globally, 007 is in debt to Q to keep his location secret as he seeks out the answer to just who is backing Sciarra in Rome. After romancing Sciarra’s widow (a youthful looking Monica Bellucci), Bond sneaks his way into the elite SPECTRE board meeting that recalls Bill Harford’s (Tom Cruise) out-of-place attendance at the Eyes Wide Shut ritual.
Recognized immediately by the mysterious head of SPECTRE, Bond is called out as if he were intentionally led to the meeting (like Kubrick’s Bill Harford) and subsequently chased from the premises. The location of SPECTRE in Rome is curious – as if this were some underground fascist cabal of unknown mobsters and enigmatic Third World and Far Eastern villainy gathered in the heart of global Catholicism. Could this be a reference to P-2 Lodge and the infamous associations with Operation Gladio and the terror cells of the Cold War stay-behind units, the model for the recent waves of Euro-terror (including the Paris attacks)? Interestingly, the most striking example of predictive programming in the film’s plot is the revelation that global terror is being orchestrated by a single shadowy cabal. This cabal is also intent on bombing nation states behind the facade of radicalism to corral them into the joint intelligence apparatus being erected through the private “space program” of our film’s super villain, Ernst Stavro Blofeld. As SPECTRE manages to appoint its Number 2 (“C,” played by Andrew Scott) as head of the new CNS surveillance initiative, the screenplay subtly refers to the plan as the culmination of a “New World Order.”
In fact, while many perceptive film-goers probably caught the numerous references to Connery and Moore-era installments, the most interesting aspect of Blofeld’s secret base in the Moroccan desert is its observatory and aerospace features. Once again, as with Diamonds are Forever and Moonraker, the private space program has a motive quite distinct from the noble advancement of scientific knowledge. Here, as with old-school Blofeld plots, we learn the antagonist’s aims are not even a Strategic Defense Initiative, but the backdoor PROMIS Octopus technology that even Wired magazine has covered, key to NSA’s ability to hack into most tech. And this is precisely what Blofeld is after – a total Panopticon surveillance apparatus erected as a result of the engineering of global terror attacks, all run by a private, unknown command center. Art is mirroring reality, and not only that, such is the ultimate plan for the globalist Novus Ordo Seclorum. Researcher and author Daniel Estulin has even highlighted this notion in his appropriately titled book, The Octopus Deception.
Curiously, while eavesdropping on the SPECTRE meeting, 007 finds that the planning group resembles something along Bilderberg lines, where decisions are made concerning human trafficking, the management of various vices like prostitution (using a large number of refugee/migrant women), the counterfeiting of pharmaceuticals (as if BigPharma itself isn’t a tentacle of the real SPECTRE) and the planning of a bombing in South Africa to terrorize the populace into signing onto the global privatized surveillance plan. MI6 is presented throughout as the guardian of Western liberty and “democracy,” while the more Eastern and fascist elements of SPECTRE are portrayed as enemies of the people. Never tiring of playing out this propaganda, the Cold War subterfuge of the West still banks on its mythology of being a bastion of “freedom” and “liberty,” as our civilization transforms into a sordid amusement park-cum-police state.
This Anglo-centric model is by no means exposed in the film, inasmuch as it is Western banking and corporate elites who comprise the real SPECTRE. Never tiring of generic sloganeering, Western propaganda and PR hasn’t changed its essence one iota since Bernays. Moreover, the Western narrative of libertarian Enlightenment freedoms rings ever more hollow in our days as it becomes increasingly evident how absurd this phraseology is, where the supposedly “free” West becomes a mutant version of Brave New Disney World, all under the designs of the very establishment that professes empty mantras of “freedom.” Freedom means the freedom to choose Coke or Pepsi, sterilization through GMOs or cancer through euthanasia – all choice delicacies offered up by the decadent Atlanticist elites.
Seeking the supposedly dead Franz Oberhauser, Bond finds his own foster-brother to be the source of his woes, as the darkest secret of 007 is his own background – he was raised as an orphan by Blofeld’s father. Blofeld , full of ressentiment, decides to work out his daddy issues through (as you can imagine) torturing Bond by strapping him down and drilling his skull for a full-scale MKULTRA-style mind-wipe. While SmartBlood may or may not be a reality, the targeting of certain areas of the brain to erase memories and motor functions is very real. DARPA has openly discussed such projects many times under the guise of “treating addictions” or “traumas” and PTSD. DARPA wants to help you, just like Pine Gap exists to “research space” rather than conduct mass surveillance, and just like SETI exists to send space emails to aliens with billion-dollar satellites, not to conduct mass surveillance (my own particular speculation).
Facing Blofeld, Bond learns the secret base is the site of a meteor crater, where the oldest meteor is Ernst’s private property. Likening himself to the obsidian Kaaba-like stone, Blofeld explains the meteor is an allegory for his own secret space surveillance system that will utilize the information from all surveillance satellites, CCTVs and tech gadgets globally. This is SPECTRE’s big secret, building the global surveillance Panopticon around staged terror events, institution of a total information grid that will allow for the blackmail of all. Does this sound familiar? Is it possible that in the real-world globo-terror is also orchestrated precisely for this purpose? That is our thesis, and hopefully it is becoming increasingly evident this is so, as more and more films begin to tell us this very story.
Most strikingly, as we argued in our Casino Royale analysis, the 007 reboots seem to continually hearken to clues about 9/11, such as the pre-9/11 airline stock put options. From there, we move into Quantum of Solace exposing the Green Agenda and the left-right dialectic, to Skyfall showing us the fact that so-called cyber-terrorists are actually the system itself (as per the similarities of the plot of Skyfall with the Sony “hacking” scandal). In SPECTRE yet another false flag references to 9/11 is hinted at in the “inside job” bombing of MI6 through a massive controlled demolition. Whatever means you think took down the twin towers (and building 7), whether controlled explosive charges or exotic weaponry, it wasn’t good old jet fuel.
On 9/11, the ultimate in terror theatre, we witnessed some form of controlled demolition, as the towers were demolished, and this was controlled by some artifice other than “Al Qaeda.” Curiously, this manner of attack is exactly what Blofeld perpetrates when he gains access to MI6 through his mole at the head of the CNS. Isn’t it curious that the first thing Blofeld does is lure 007 into MI6 headquarters, intending on demolishing him and the old world with it? 007 escapes, of course, but I would venture to say the film is not telling us about the demolition of MI6 headquarters, but the destruction of some other tower by SPECTRE.
ESOTERIC HOLLYWOOD WITH JAY DYER: SPECTRE AND THE PARIS ATTACKS