WikiLeaks drops the mask on Hollywood’s real mission: psychological warfare
Julian Assange exposed how blockbusters like Top Gun: Maverick, 24, Homeland, and The Fifth Estate were never just entertainment — they were military-grade propaganda tools designed to shape public perception and manufacture consent for war with Iran. This isn’t speculation. It’s a script — and it’s been running for years.
THE PROPAGANDA ENGINE NO ONE TALKS ABOUT
Hollywood isn’t entertainment. It’s a weapon.
In a speech ignored by legacy media and buried beneath a decade of silence, Julian Assange, founder of WikiLeaks, dropped one of the most explosive truths of the 21st century:
“Hollywood scriptwriters who say they are ‘Jewish’ have been planting the mental seeds for war with Iran for years.“
This wasn’t paranoia. This was intelligence. Strategic, pattern-based, and sourced from someone who spent his life exposing systems of manipulation.
Assange didn’t guess. He documented.
From Top Gun: Maverick to 24, Homeland, and the DreamWorks-sanctioned smear film The Fifth Estate, Assange outlined how American media, under the guise of storytelling, has been conditioning the public to crave war with Iran — long before the first drone even took flight.
This is not entertainment. This is cognitive pre-war.
TOP GUN: MAVERICK — MILITARY PORN WITH A POLISHED SMILE
Released as a sequel to a Cold War-era favorite, Top Gun: Maverick arrived wrapped in patriotism and nostalgia — but every frame of this blockbuster was pre-cleared by the Pentagon. This is confirmed. This is public record.
What the audience sees is an elite American pilot team tasked with destroying a mysterious enemy’s “unauthorized nuclear facility” located in rugged terrain. The enemy is never named, but the uniforms, language, architecture, and terrain scream Iran.
This film is not subtle. It’s a surgical strike to your subconscious:
-The enemy = irrational, secretive, nuclear-capable.
-The U.S. military = heroic, sacrificial, noble.
-War = clean, efficient, morally justified.
This is not narrative. It’s rehearsal.
24: THE WEEKLY INSTALLMENT OF FEAR AND OBEDIENCE
For nearly a decade, 24 drilled a single message into the American psyche: the enemy is always out there, and the only solution is surveillance, torture, and pre-emptive violence.
Each episode of 24 is structured like a countdown: urgency, explosion, brown-skinned enemy, white American savior. The result? Viewers emotionally internalized the idea that civil liberties are expendable and that torture is not only necessary — it’s patriotic.
Iranian characters, Middle Eastern landscapes, and Islamic names became synonymous with threat.
24 didn’t just reflect fear culture. It manufactured it.
HOMELAND: WHERE CIA FANTASIES BECOME FACTS
Homeland was praised for being “intelligent” and “complex.” In reality, it is one of the most insidious pieces of propaganda ever aired.
Its creators consulted directly with CIA analysts. Its story arcs reflect actual agency concerns. Its heroes are lawless operatives. Its villains? Always Iranian, Syrian, Russian, or Muslim.
And its central theme?
American paranoia is righteous. Everyone else is a suspect.
The show desensitized viewers to illegal surveillance, drone assassinations, regime change operations, and war crimes by presenting them as morally grey, but ultimately necessary.
Homeland doesn’t tell a story. It normalizes an agenda.
THE FIFTH ESTATE: CHARACTER ASSASSINATION DISGUISED AS BIOPIC
Perhaps the most bitter twist of all: the film made about Assange himself.
The Fifth Estate, produced by DreamWorks and sold as a drama about WikiLeaks, was nothing more than a character hit job — portraying Assange as erratic, dangerous, egotistical, and emotionally unstable.
The real crime was never Assange’s character. It was what he exposed:
-War crimes in Iraq and Afghanistan
-Mass surveillance
-Government lies
-Globalist corruption
By attacking Assange’s image, the system discredited his message. The film was timed perfectly with U.S. diplomatic attacks and media vilification. It was propaganda disguised as art.
When they can’t kill the truth, they assassinate the messenger.
FROM SCREEN TO STRIKE: THE PSYCHOLOGICAL TRAJECTORY OF WAR
Make no mistake: before bombs fall, stories are told.
And the stories told by Hollywood are not accidental. They are curated. Focus-tested. Strategized.
They teach the viewer who to hate, who to fear, and when to cheer for blood. And over time, they hardwire consent. They mold the public psyche into believing that Iran is irrational, dangerous, and in need of discipline.
It’s not about defending democracy. It’s about dominating memory.
Hollywood trains your imagination to accept — and even applaud — preemptive violence.
THIS ISN’T THEORY. IT’S DOCUMENTED STRATEGY.
Assange was not speculating. He was reporting.
WikiLeaks has released multiple internal communications proving the U.S. military and intelligence agencies collaborate with film studios to control public narratives. Script approvals, location permissions, funding access — all tied to government cooperation.
It is not a coincidence. It is a command chain. And when someone exposes it? They are hunted.
Assange spent over a decade in exile, solitary confinement, and legal purgatory because he broke their narrative firewall.
THE REAL BATTLEFIELD IS YOUR MIND
You think the war starts on the battlefield?
Wrong.
It starts in the writers’ room. On the editing floor. In the trailer. On the billboard.
You were programmed to accept the Iran war long before any politician even dared say it out loud.
That’s what Assange revealed. That’s what the system cannot forgive. And that’s why this truth must be shared.
Because if we do not expose it, we are not resisting war — we are living inside its screenplay.
Watch the Oxford Union speech (Julian Assange, 2013) — A MUST SEE VIDEO
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DISCLOSURE (Declassified & Authorized): The Explosive Truth About Julian Assange and WikiLeaks That Changes EVERYTHING!
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