‘1984,’ ‘Brave New World’ and ‘The Hunger Games’

Somewhere in the quest to believe, special agent Fox Mulder, aka David Duchovny, ad-libbed a line on "The X Files" about what they called The Elders. Interestingly enough there is since a group of globalists who have actually crowned themselves “The Elders,” but maybe they were busy running for president and missed "The X Files." Duchovny’s line creatively subverted Eisenhower’s great parting shot at the treacherous world he was leaving behind. Duchovny’s phrase was something like “the military-industrial-ENTERTAINMENT” complex.

It pretty much hit the nail on the head, and he might have added “military-industrial-entertainment-educational” complex. In a word, it is not just the newspapers and TV reporters who are embedded with the invading army. It is the entire professional culture of entertainment. The cooperation of secondary or sub-institutions with industry and military has long guided the geist and life force of America and the world. But ever since I saw Suzanne Collins’s great work, "The Hunger Games," on the big screen last weekend, I see it everywhere; the new set for "The Voice," whatever that is; Lou Dobbs's commentary on Fox; the purely partisan Supreme Court. (And could we see their Law Boards, please? Especially the one who doesn’t talk.) Our fate — the fate of my children — is in their hands.

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Collins falls in a group that should not be called artists, perhaps, but mages. They are the introverted mystics who see the world beneath: Underlords, you might say, who go in and bring something back to the Overlords (The Elders). Neil Gaiman, falls in this group and so do John Lennon, Kurt Cobain, Billy Bob Thornton, David Lynch, Chris Carter and others. They go alone, as Emerson suggests, and some, like Cobain, live sad, dangerous and mangy lives. The alchemists say that these people talk to God direct. Then they try to come back to tell us what he said, but no one listens.

But they change things, and the Overlords can’t understand what happened. The Beatles land in JFK, then everything is different. Bob Dylan switches from an acoustic to an electric guitar at Newport and northing is the same. Suzanne Collins, like a true mage, refuses to give interviews but she said one thing: When she was writing The Hunger Games, which appeared in September 2008, she was surfing the TV stations and what she saw was war and game shows.

The game show must now be considered the official art of the “military, industrial, entertainment” complex. Long ago it bled into news coverage, so that even the sovereign papers like the New York Times, Wall Street Journal, Washington Post and, worst of all, the LA Times, have become agents of lifestyle. Two books warned of this decades back, 1984 and Brave New World. 1984 was a shadow event, presenting a vision of Eastern Europe, but Huxley’s vision was of the rising American/Anglo world — our world — a utopia of the American Age. From Wiki: “The ‘feelies’ are his response to the 'talkie' motion pictures, and the sex-hormone chewing gum is a parody of the ubiquitous chewing gum, which was something of a symbol of America at that time.”

I’ve four kids who have just completed public high school in the last 10 years. I noticed that they have all read 1984, but not Brave New World. It was dropped from the curriculum. But they have all read The Hunger Games. It seems from the mage perspective a better book.