Jay Dyer EXPOSES Hollywoods Hidden Agenda with Dr Drew

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may apply. There are countless movies made in concert and consultation with the CIA for many decades.

There's a lot of different levels to this. You know, you can look at, for example,

in Fleming himself. The character of Bond was used as a cold war symbol and as a form of

a cold war propaganda. And so when Fleming was writing his stories, he was basing a lot of the

Bond novels on real operations that he had been involved in, like Operation A Golden Eye,

which was an anti-Franco, anti-fascist operation. You have Operation Mince Me, which he was involved

in, which they've made films based on that. So, YouTube and X, it is at Jay Dyer and Caleb,

I don't know if you're going to throw all three books up there or just the most recent one.

I don't know how Jay has time to do comedy. He's been writing so many damn books and

doing so much work in his own educational training. Jay, welcome to the program.

Thank you, Dr. Drew. Glad to be here with you.

I seriously, I don't know how you have time for comedy with all the writing and all the

training you've been doing. But I'm glad you're here doing all of it. Thank you.

Yeah, well, you know, that was not something that I really thought I would end up doing, but

I think the way that media works now, you kind of do your own thing and then the more of your

personality that comes forth, you just kind of roll with it. And so, I ended up kind of falling

in line with a lot of the comedian podcasts and doing shows with them and enjoying it quite a bit.

And so, I ended up writing for Sam Hyde the last year for his show. So, it's been a roller coaster

ride. It's a lot of fun, but also like doing the educational stuff on the other hand as well.

Sam is another bright guy and that is not light lifting, writing for Sam, I assume.

But let's talk about, Sam is a really smart guy. Let's talk about Hollywood and the concerns

and observations you have as somebody trained in certain kinds of psychology to how people

are manipulative. Well, let's talk about that first. Are you worried about, as I am, I'll turn

over my cards, the behavior of crowds? I feel like we have been a tendency to mob action that

emerges periodically in history, whether you start with 1790 France or, you know,

1932 Germany, whatever it is, we're in one again, it feels like. And there's lots of true believers

flying around in, in gendering chaos. Is this what's happening? Are you concerned about that?

Yes. You say chaos. Chaos. For a chaos, you know, don't you know, it's just chaos.

Hands on what you mean, though. I couldn't help. I thought you were going to go into a Maxwell

smart. I had to go straight, Jordan Peters, the word chaos triggers Peterson in my head, but

you know, like you actually, I studied the French Revolution pretty in depth as well when I was

an undergrad at a professor who was a specialist in that. And you're right, I think, to make the parallels

between mob psychology, which was really kind of, I guess a modern thought, getting collated,

I guess you could say, with socialism and communism and Marxism. But I just covered a book on my

channel a few months ago by a, he was an allied psychologist during the time of World War II,

his name is Juist Merlew, and he wrote a book about mob psychology. Many, many decades before,

you know, Dr. Malone talked about mass formation psychosis and this kind of stuff. And he said that

he noticed the socialist movements had really perfected this technique and quite a few chapters in

that book that were applicable to Hollywood and the way Hollywood kind of forms attitudes and

creates culture, culture creationists. And then we talk about a lot of my channel, but also kind

of predicting what social media would do. And then when you get this sort of melding of fame,

internet fame, social media with the idea of Hollywood and influencers kind of being the new

a-listers and this kind of stuff, it's a very toxic, dangerous mix, but it's also something that

social engineers have studied to perfect in order to kind of control society.

And are you seeing evidence of that kind of premeditated activity from Hollywood?

Yeah, you know, one of the things that I focused on in my grad work and I ended up just kind of

putting that work into more of a popular readable book rather than something that was, you know,

academic, that nobody's ever going to read, you know, this in master's thesis or anything like

that, it's just going to sit there on a shelf. I thought why not take this information and kind of make

it accessible and readable. And I think everybody's probably familiar with the way Hollywood uses

product placement, you know, that's a classic style of getting people to purchase a product because

James Bond was associated with it or something like that, but it gets a little more nefarious as

you get deeper into subliminals. I think everybody's heard of that kind of stuff. But beyond that,

there's also war propaganda. There are countless movies made in concert in consultation with

the CIA for many decades. That was something that was done a long time ago, more on the download.

So in the 1940s, even back to the 1920s, Howard Hughes, you know, he would make war propaganda films.

The OSS would work with Hollywood to make certain screenplays and films. And even a list actors

have been famous spies all over the place. Yeah, right. It was in those films. Exactly.

Absolutely. Jimmy Stewart was an FBI-produced movies. You have people like Julia Child,

the famous chef, TV chef. She was actually an OSS operative, which people don't know that before

she was a chef. In the third book, I actually did a whole chapter just on this because it was so

fascinating to see all these people that people didn't know about Sterling Hayden. He was an

operative for the OSS. John Ford made films in concert with the OSS. And then as you get up into

the 70s and 80s, same thing going on there, even to the point of, you know, Ben Affleck recently

was touting the CIA and how glad he was to work with them to make films like Argo. You have films

like Zero Dark Thirty all being made openly with the CIA. So what used to be kind of a secretive,

you know, behind closed door things is now kind of in the open.

Sterling Hayden's in the Sterling Holloway is Winnie the Pooh, who was Sterling Hayden.

Well, he was one of the A-listers back in the 40s, very prominent kind of, you know,

up there with like Humphrey Bogart and Kerry Grant. And Kerry Grant, by the way, was a spy too.

He would spy for the OSS. I want to push back a little bit and say,

you know, because I've been around all this stuff too for a long time. And

whenever somebody is producing anything for media consumption,

they just, they get kind of captured by what works. They kind of A, B tests a lot.

And then what works they go and they launch into it and they build as well,

momentum. So it's rarely in my experience premeditated. And the same thing with the CIA involvement,

they get the CIA in and the FBI in and the military in to tell us how it really happens.

Give us the deal. We want this to be authentic. And then they don't understand that with that

authenticity comes a bunch of subliminal messages that the CIA makes sure they put into their

films. So in a way, they're just useful idiots. Yeah, I mean, I don't want to be overly simplistic

as if it's all or nothing, as if everyone's part of a grand conspiracy. I certainly don't believe

that. I think there's a lot of different levels to this. But, you know, there's a lot of things

on record that have come out, things that were declassified in the National Archives, things

like that that I covered in the third book. But, you know, you can look at, for example,

Ian Fleming himself. What I focused on in my graduate was the way that the character of Bond

was used as a Cold War symbol and as a form of Cold War propaganda. And so when Fleming was writing

his stories, he was basing a lot of the bond novels on real operations that he'd been involved in,

like Operation a Golden Eye, which was an anti-Franco anti-fascist operation. You have Operation

Mints Me, which he was involved in, which they've made films based on that. So there's different

levels to this, but there's also that level propaganda, which I think most people can kind of

connect with. And a lot of times that's the big blockbusters. Usually blockbusters have a decent

amount of propaganda inserted into them. But like you said, you know, it's not every director or

every person being, you know, in some kind of agent or something like that. It's more sparse

than that. But you know, Edward Bernays said that Hollywood is the greatest engine of propaganda

the world has ever seen. And he put that in his famous book, Propaganda. So they've known this

for a long time. And it's just a tool that I think has been utilized often. But it's not, you know,

something that always is making everybody an agent or something. No, listen, you look no further than

how COVID, you know, how the news media and the various outlets were used during COVID. And then

then they marched on into the social media world and tried to manipulate that. And now there's

thank God some pushback. But it all seems like business is usual to me. And they get compliance

by various needs, paying people off, muscling them, you know, sort of inserting stuff, you know,

without their knowledge into it. But it'd be that as it may. There's a moment right before

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I want to ask two things. One of the differences amongst the three books. Why did you need to write

three? And what am I going to learn from each? And then I want to go back to the juice Maloo and the

madness of crowds. So let's talk about your books first. Yeah, thank you. So the first book was

something that came about that I didn't expect it to be a book. So I've been running a lot of essays and

excuse me. Treatment of film from a more of an academic perspective. Or if you take a college class,

you'll do what's called a close reading where you kind of read Dosty F ski or somebody like that

at different levels and try to decode it. Then think out of the symbolism and the meaning. And so

I sort of started writing movie analyses in the same way. Eventually a publisher reached out

said, Hey, you should do it. You should do a book with the style of analysis that you do.

That's one of the first one, which mainly focused on the big director. So I focused on Kubrick.

I focused on Hitchcock Spielberg. A lot of the big names and their blockbusters and what

was good and what was bad. It's not all a critique. It's just sort of an analysis of the way

that symbols are used in film to program us both on a conscious and in a subconscious level.

So it's a lot of different things. There's, you know, Carl Jung style, Union analysis comes into

it at times. Propaganda, the history behind this with that film and relationship to CIA consultation

or whatever. So it's a lot of different things. The second film focused thematically on different

topics within a bunch of different films. So I talked about the relationship of Hollywood to

organize crime, what's real and what's not real between various mod movies and how, you know,

we kind of were sold the picture of the villain being the good guy through a lot of mafia movies

and how then. So now we kind of look to the Tony soprano as the good guy and that kind of

stuff. So a lot of inversion when it comes to morals and ethics. And then in the third book,

because I had so many people say over the years, how you never did this movie? You never did

Christopher Nolan movies. You never did Marvel movies. I'm not a huge Marvel fan, but I decided

that, well, they're the biggest blockbusters in the last 20 years. So if I say that blockbusters

are a lot of propaganda, I guess I should cover them. So first 80 pages is Christopher Nolan and

Jungian archetypes and Marvel analysis. I have a really extensive 60 page, 70 page critique of

feminism in Hollywood and how there's a sort of a presentation that women are all now supposed to

be what men typically are, which I think is kind of a intentional subversive approach to storytelling.

And then I get into fun stuff. There's comedic stuff. There's B movies that we cover that I thought

were kind of funny. And then I get into relationship between CIA and Hollywood and how Hollywood is

presented in times in apocalypse films, which I think is fascinating because Hollywood's kind of

dying. It's on its own little apocalypse. And then it's turning into this other thing of influencers

and, you know, basically gaming is kind of taking over, unfortunately, but

yeah. So light lifting like decoding Dostoevsky. So that's just sounds monumental.

Just trying to read Dostoevsky's and penetrate it is hard enough.

So it's not that hard. I just thought of an example. It's not as bad as stuff. It's not that hard.

Well, not as hard as decoding dust. Yeah, but it all sounds very fascinating and

worth, I mean, a sort of historically significant. I'm glad you're putting it down for the record

because when people do look back at this time, film is one of these things that is, you know,

I look at it all as just these technologies that come along. And, you know, but before there was

stage and then stage lights and then there, then there was amplification and then this

celluloid thing comes along. And then this television thing comes along and then vinyl records.

These are all technologies that get exploited in massive ways by people that produce content

for these things. What I find really interesting is they always tend to go towards,

it's sort of performers that kind of use it to put their material out far and wide.

And then it gets hidden or sort of protected under the sheath of art. It's art. Don't you

understand it's art, but it really, to me, just looks like, yeah, there's artists involved,

but it's a commercial enterprise that's taking advantage of a new technology and then the

computer and then the social media. And here we are down the road. Yeah, I think the artists

are kind of like products and they do, you know, sell what's on my bed. But they hide behind it.

Oh, something's on your bed. Somebody say something on there.

So I don't know. I don't see it.

It's a dead body back there. So I guess, yeah, it's, we'll put you on the travel channel

as some sort of a phantom flying around. I can't quite see it. Oh, good. All right.

And, but I really think they use art as a veil to do whatever they want to do.

So you can't, you can't, you know, it's, it's, I'm creating art. It's creating art. You can't

criticize it. It's art. You don't understand. No, they're creating a community of commercial

enterprise. But yeah, let me go back to Ju Smerlune because I, and I think I'm sure you're aware

of this. There's a elaborate sort of cartoon online that goes through all of Ju Smerlune's theories,

right? You've seen that. Have you seen that? No, it's very good. It's very good. Yeah.

Oh, well, there's somebody that did a whole sort of, it's not really Ju Smerlune for dummies,

but it is sort of that. And it has a whole visual attached to it. If somebody's sort of sketching

things out as his theories are presented, it's very good. It's very good. I recommend it. Just

look up, go to YouTube, look up Ju Smerlune. But it sent me, I guess I was, I already had read

extraordinary popular delusions and the madness of crowds. It sent me back to read Le Bonz,

the crowd again. And then I got downstream to a book called The True Believer, which I find

as one of the most fascinating because I think, I think you'll agree with me that these mass

formations or whatever you want to call them have about 10 or 20% of the crowd that is true believer.

They're, they're really bought into this stuff and they're the ones that propagate some of

these things. And this, I think the guy was like a second engineer or something. He was not trained

in psychology. He was not trained in anything. He just wrote down his observations of the behavior

of crowds. And man, I think he just nails the true believer, just nails it, nails it, nails it.

I recommend it most highly. I've read it like three times now. But what are your thoughts on this,

this construct and why is it coming up again? And you know, why didn't, why did the left grab onto

it so hard since the Jacobins? Give me your thoughts. Yeah, I think that it's been perfected from

the vantage point of social engineering and, you know, steering and controlling the crowd.

And this is again what Walter Lippmann wrote about when he talked about public opinion coming out

of the Tava stock institute. He figured out that you could really steer the masses by giving them

the impression that, well, if you're not in with the angry with the, you know, high percentage,

well, the majority of the public supports the war. You don't want to be seen as an outsider. So

they were really figuring this stuff out back in the 1920s. And then they have perfected that

technique with what we have today. And of course, you know, after the, the coup, as I call it,

from 20 to 20 to 2022, they were using as Harvard, Harvard admitted Harvard style psychological warfare

techniques, the Canadian government admitted they were using siops to really get everybody on board

with the mass formation psychosis. So I think that they've applied these techniques to the way

that A-listers and celebrities had that type of power, you know, decades ago. And now it's the

influencer. Now it's the, you know, the social media person that's taking that role on. And I

think we've seen a lot of phony fake, you know, these social media people that push whatever

the establishment wants. Sometimes these people are boosted in the algorithm. So that's where we are

now is just the new instantiation of the same tricks and tactics.

What's the antidote? What do we have to do here? I feel like raising awareness of it,

calling it out, mocking it, works almost better than anything. What do we do? Comedy or into

comedy now, maybe, maybe more, um, imitations, more, more impersonations. Well, it's just,

it's a love line. It's just Dr. Drew in the love line. It's just probably the best,

probably the best love line on right now. We're going to make sex great again,

Dr. Drew, you and I together, probably going to make it great. Probably, um, yeah, I mean,

I think ridicule is a really powerful tool for mocking these types of things. You know,

when you go back to 10 years ago, one of the reasons that they really had to institute a lot

of the censorship online was that the left was becoming so sensitive when they were being made

fun of that they just had to shut down memes. They had to shut down anything that was perceived

as mocking them because it's quote, hurtful. Of course, again, that's very subjective in terms of

what's hurtful in regard to free speech. Um, there's already laws in place for that. So they had

to really, I think, uh, clamp down. Uh, we saw that as well with, uh, the COVID mandates and,

and Dr, Dr. Fauci's old, constantly getting, uh, you know, addicted, I am science, I

had the science and then everybody just made fun of Fauci. There was a, remember when they said

that he was the sexiest man alive. I mean, it's like, what? He's like, I'm actually a

pulp. They were putting on a pool. He's the sexiest man alive. It's like, people just made fun of

this. And, uh, I think that was a huge, you know, blow to the system. And so that was also why they

needed the, you know, Twitter files collusion between government and big tech to shut this stuff

down because they know the comedians are the tip of the spear when it comes to moving the

over to the window back towards, uh, rationality. Well, they were absent during COVID. That was,

that was one of the things I kept saying. If you look at my old streams, I was like, where are

the comedians? What happened here? Uh, Corolla never stopped. I know we're making fun of him.

Yeah, I know. I Corolla kept saying, you're a bunch of pussy. You're a bunch of sheep. What are

you doing? If we stopped, do we stop following this thing would end tomorrow? Uh, and he's been

the same ever since and was the same before. Trust me. Um, but it's very interesting and we live

in a time we have to, uh, you know, because persuasion works, even when you know somebody is hypnotizing

you or persuading you or brainwashing you, we have to come up with techniques to kind of,

you know, tire ourselves to the mast. We literally have to tire ourselves to the mast and we have

to tie a bunch of people there with us. So we are not taken by the sirens song. And I agree. I

think mockery is one of the antidotes, but we got to come up with a bunch of others. Absolutely. I

mean, I think, uh, just presenting, you know, logical, uh, refutations and critiques, which is

something that we're big on on my channel. You know, we do a lot of debate reviews, do a lot of

analysis. And, uh, that has a lot of, uh, effect. I think it's very powerful with people who

haven't lost their mind who are still rational, who are still sensible. And so we really push

learning basic logical fallacies to recognize when you're being propagandized, when the left

is giving you bad arguments. It's great. If we can just get that 70% in the middle there up, uh,

uh, to speed, it'd be amazing. Well, listen, I appreciate what you're doing. I love talking with

you. I know that I'll talk to you again at some point. I am, uh, immediately subscribing to your

YouTube channel because this stuff all fascinates me. That's, uh, at a, at Jay Dyer, is there somewhere

else I go for that YouTube? No, that's my YouTube. And then you can find me in the same name everywhere.

Is it out as a pod? Also, not that that really matters anymore.

Um, it is. It's on iTunes in terms of podcasts. But, uh, if you want to get the book, it's at my

website, jsonalsus.com. Great. Jay, thank you for joining me. Let's talk to you soon. Thank you.

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