How the Plutocrats could realistically fake an alien invasion invasion to enable a takeover of select cities, and cover their Exit to Mars, or elsewhere, using classified prototype vehicles kitted out with an alien aesthetic. How they could have been working on this since at least the early 20th Century, as just one part of the “enlightened elite’s” Technocratic Project.
As regular readers of this site are by now well familiar, the Plutocratic Exit Strategy is an alternative narrative I’ve been constructing to help explain the otherwise incomprehensible events and activities by world leaders and corporations since at least the 1970s. That they knowingly and willfully ruined the Earth and are laying down a ratline to Mars before our very eyes, and covering their tracks with Noble Lies.
In my article for the recent Special Issue of New Dawn magazine, entitled The Plutocratic Exit Strategy & Their False Flag Alien Invasion Getaway Plan , I laid out how and why the Elite might fake an alien invasion to not just take effective control of the world and its resources, but also perfectly mask this escape to Mars, or elsewhere. Such a plan takes careful preparation and testing before its almost instantaneous Shock & Awe implementation can be affected. I illustrated this by leaning heavily on such works as Arthur C. Clarke’s first novel, Childhood’s End and linking it to the pilot of the TV show Colony, using recent technological developments and public plutocratic plans to form the connective tissue.
In this series of posts, which forms the second part of a planned three part series (starting with the New Dawn article mentioned above), I look at how such a plan could’ve been developed over the decades by folding together elements of several fictional universe and gluing them into one meta-narrative with commentary. I also note, in doing so, some parallels to the formulation of the Plutocratic Exit Strategy itself.
The picture that’s forming in my mind, that I seek to convey here – something that’s less pure paranoia than Chaos Magick-style mask, or fiction suit (a temporary lens with which to see reality with, then discard) – is of a Technocratic Project engineered by an “enlightened elite” that stretches back perhaps a century or more – to at least the end of the Great War, and perhaps half a century earlier again. This will be the subject of the much longer third part of this three part series. Because an even more startling and ambitious narrative is forming that links an Exit to Mars (or elsewhere) as the end game in a project that’s directly responsible for not just the polluting and looting of the Earth, but the Sixth Mass Extinction itself. And it’s all been made possible thanks to the careful observation and attempted replication of the deeply strange mystery that is the real UFO Phenomenon.
Before we can go travel all the way back to examine the end of Empire and the rise of Technocracy we need to stop first and step through how the Plutocrats might have accidentally documented – or deliberately leaked – the progress of their plan in plain sight. How, in fact, this perhaps forms a key part of the plan.
We’re peeling back the layers in this series. Throughout this second instalment we highlight the construction of an alien aesthetic in the popular consciousness through key elements and moments in ufology and ufological themed TV shows and movies. Something that’s then been reinforced by the statements or evasions made by politicians and plutocrats alike. That’s been further seeded by some public demonstrations made by the Military Industrial Complex. That in fact, parts of ufological lore might be as a carefully constructed and meticulously maintained as, say, the elements of a Steven Spielberg movie.
After all, what’s the use of spending decades influencing people to know what to fear and what to worship, only to have them react the wrong way when its time to execute the final act in this long game. Aliens (and Asteroids) are an External Other to be ever watchful for.
Before we begin, it’s especially useful to return to the alleged deathbed confessions of Wernher von Braun – who’ll return to make another key appearance in this essay – as testified by Carol Rosin:
When I was a Corporate Manager of Fairchild Industries from 1974 through 1977, I met the late Dr Wernher Von Braun. At that time, Von Braun was dying of cancer but he assured me that he would live a few more years to tell me about the game that was being played – that game being the effort to weaponize space, to control the Earth from space and space itself.
The strategy that Wernher Von Braun taught me was that first the Russians are going to be considered to be the enemy. In fact, in 1974, they were the enemy, the identified enemy. We were told that they had “killer satellites”. We were told that they were coming to get us and control us-that they were “Commies.”…”Then terrorists would be identified. Then we were going to identify third-world country “crazies.” We now call them Nations of Concern. But he said that would be the third enemy against whom we would build space-based weapons.
The next enemy was asteroids. Now, at this point he kind of chuckled the first time he said it.
Asteroids- against asteroids we are going to build space-based weapons.
And the funniest one of all was what he called aliens, extraterrestrials. That would be the final scare. And over and over and over during the four years that I knew him and was giving speeches for him, he would bring up that last card. “And remember Carol, the last card is the alien card. We are going to have to build space-based weapons against aliens and all of it is a lie.“
As we’ll see, and have seen already in previous instalments in the greater Plutocratic Exit Strategy series, the plutocratic interest in aliens and asteroids continues to take a more and more prominent face; and in many places they’re interchangeable. Just as I’ve largely been using this series to examine how we can first map the probable path of the future, then use this to change direction towards a brighter path for all, so in these specific special UFO-flavoured episodes we critically examine just how one of the particular roadblocks they’ve put in place has been elaborately constructed in the public consciousness.
The Acculturation of the Population through the Alien Aesthetic in Science Fiction
Google’s Knowledge Card for “alien”
The subject of an Alien Aesthetic is something I’ve been exploring at length recently. In my essay Lovecraftian Cyborgs & The Alien Aesthetic (Part 3) I said the following about our ability to even think about what the alien actually is:
The thing about aliens is we have no idea what they’re like! That’s the very definition, after all. Lovecraft himself was very thin on details, letting the reader project their own nightmarish visions of the beings that caused such Cosmic Horror onto his words.
No amount of space opera or science fictional speculation can prepare us for the actual encounter.
I don’t think we are almost imaginative or creative enough to understand what they might be like. We’re inevitably conditioned by the culture… I’ve read science fiction, I love movies, Star Wars, Star Trek… But they sort of acculturate us to think anthropocentrically, we tend to think of life that’s a little bit like us, or a lot like us.
And the truth is life could be so strange we might not recognize it. Certainly strange enough that we might not have real communication with it. So when you ask how strange life might be in the universe – I don’t think we know how to answer that question. And that’s actually quite exciting.”
It’s crucial therefore to distinguish between the idea of extra terrestrial life, astrobiology, and how this all represents a philosophical quest to extend the borders of our conception of our place in the universe and just how strange our fellow inhabitants might be… versus what amounts to a pop culture theory object: the conception of “an alien” in the collective imagination that has been generated via science fiction in all its forms.
For our purposes here – as will especially become even clearer in Part 3 of this series – we’re going to focus on the 20th Century pop cultural depiction of the alien. If you seek an in-depth history of the UFO Phenomenon that stretches back into Antiquity, I strongly recommend starting your inquiry by picking up a copy of Wonders In The Sky by Jacques Vallee and Chris Aubeck.
The first depiction of the now classic Grey Alien occurred on the 10th of February, 1964, in an episode of the seminal science fiction series The Outer Limits. That episode was entitled The Bellero Shield.
As one of the helpful folk on Stack Exchange summarised it, this just pre-dated – and thus also perhaps intersected in some way with – another key moment in modern ufological history; the Betty & Barney Hill abduction case:
In 1990, abduction-debunker Martin Kottmeyer remarked on the resemblance between the alien described in the 1964 hypnosis session and the alien in the Outer Limits episode that had aired two weeks before the session.
Which is very, very interesting, but adjacent to our current exploration of the alien aesthetic (see Part 3).
The point is that in 1964 the Grey Alien entered the popular consciousness via these two separate (but perhaps entwined) vectors, and remains firmly lodged there until this day.
Variations on this depiction of the citizens of an extra terrestrial civilisation have appeared over the decades in films of different tone and sub-genre, such as Close Encounters of the Third Kind (1977), E.T (1982) and Independence Day [ID4] (1996). It continued to be popularised – cementing its place in the pop cultural mindset – chiefly by such shows as The X-Files in the 1990s to the early 2000s. A show which is currently making a brief return to our screens and directly impacts on this investigation.
Greys in The X-Files
At the conclusion of the opening episode of the new run of The X-Files, Mulder & his fellow investigators of the apparent conspiratorial mystery behind the UFO Phenomenon make the following short summary of how they see events unfolding:
“…or a simulated alien invasion, using alien replica vehicles that exist and are already in use.”
What they’re describing is the exact scenario I outlined in the first part of this series, in New Dawn magazine: the Plutocratic takeover of the world by False Flag Alien Invasion, affected using classified prototype vehicles with not just alien aesthetics.
In keeping true to The X-Files‘s mythology – and thus echoing mainstream ufological thinking and thus reinforcing the popular conception of the alien aesthetic – this elaboration of the concept leaned on the classic trope of utilising reverse-engineered alien technology – as opposed to hinting at the long existence of a technologically superior, completely anthropocentric Secret Space Program.
an Alien Replica Vehicle in The X-Files (S10E01)
Digging back through decades of ufologically-inspired pop culture reveals that this specific idea isn’t quite as new as it might otherwise seem. Though it’s far from being part of conspiratorial canon today, a Plutocratic Takeover utilising prototype vehicles kitted out with an alien aesthetic can be found airing on TV screens just two years after the first appearance of the Alien Grey on The Outer Limits.
Like The X-Files, this show also featured the adventures of two intelligence agents investigating strange cases drawing from the science-fictional condition that saturated the culture of the time. It was The Man From U.N.C.L.E., and in its much weirder third season it had an episode that was a perfect elaboration of the idea we’re examining, and its faults. At the very end of 1966, the sixteenth episode of the season, The Take Me to Your Leader Affair, aired. As TV Guide simply summarises it:
“A scheming industrialist kidnaps an astronomer’s daughter (Nancy Sinatra) in a maneuver to take over the world”
That maneuver is, of course, the False Flag Alien Invasion. The images below show the futuristic – by contemporary standards – triangular vehicle that the villain of the piece, the industrialist Simon Sparrow, fully expected people to take as originating from an extraterrestrial civilisation.
Simon Sparrow is so confident of his well laid out plan that he arrogantly reveals all the details of it to the astronomer he’s forcing to his will. Sparrow has generously paid for the establishment of a series of radio astronomy research stations, then equipped them with a computer he’s comprised to falsely detect an asteroid that will turn out to be an alien craft.
The idea that a member of the Military Industrial Complex might have penetrated and distorted the transmissions of radar systems etc – either to fake UFOs or hide the activities of their advanced prototype vehicles – is something that might have seemed like pure paranoia then and now… that is until we entered the post-Snowden era, and began to get a glimpse of how things really are – and have most likely been, to some degree, since the days of the Cold War.
“The NSA routinely receives–or intercepts–routers, servers, and other computer network devices being exported from the U.S. before they are delivered to the international customers,” Greenwald writes.
“The agency then implants backdoor surveillance tools, repackages the devices with a factory seal, and sends them on. The NSA thus gains access to entire networks and all their users. The document gleefully observes that some ‘SIGINT tradecraft…is very hands-on (literally!)’” ~ Greenwald: NSA Plants ‘Backdoors’ in Foreign-Bound Routers [WSJ] (2014)
As we move further into a global civilisation where nearly every device – and more disturbingly, and ever increasingly, every person – is connected to the internet and can’t function without approval from a central server, the ability of wannabe Technocratic Overlords to control and manipulate the window on reality created in this manner becomes near omnipotent. Viewed through this lens, the newly prioritised Plutocratic Interest in the Search for Extra Terrestrial Intelligence (SETI) via the Breakthrough Listen project becomes even more ominous. The recent past has seen the concentration of media ownership into ever fewer hands only continuing to escalate. Now they’re clamping down on science and basic research; controlling both ends of the signal in the event of Contact; be it genuine or contrived.
This extends to that other extra terrestrial threat; the Asteroid. Since their confirmation as the cause of the mass extinction of the dinosaurs, asteroids have become another persistent element in the narrative of imminent doom facing the Earth. Aliens could invade at any moment, just as an asteroid could strike the planet. Any rock on a flight path near our home world continues to greater and greater attention; with more focus than ever put on our ability to defend ourselves from that threat, and our capability – often inability – to even detect them. If Simon Sparrow’s plan reveals anything, it’s that asteroids plus aliens makes for an effective formula for world domination; especially if you’re controlling the information flow about them both.
“Although asteroid 2013 TX68 may pass by Earth on March 8 at 00:06 UTC (March 7 at 7:06 pm ET), the time uncertainty is 2 days, which means the space rock may be passing by our planet sometime between the evenings of March 5 and 9.
The uncertainty of the exact date of closest approach as well as the precise orbit, is due to the fact that asteroid 2013 TX68 was just observed during 10 days (including the new found pre-discovery images), which is still a short time to precisely define an orbit. After it was observed and tracked, the asteroid passed into Earth’s daytime sky and could no longer be observed.
Scientists say it will be a safe pass and that they will soon precisely define its orbit. On February 11, NASA removed asteroid 2013 TX68 from a list of space rocks with possibilities of future impact with Earth over the next 100 years.
The new estimates suggest asteroid 2013 TX68 could fly pass Earth as far as 10,722,990 miles (17,256,980 km) or as close as 19,254 miles (30,986 km). For comparison, the moon’s distance is about 239,000 miles. Astronomers at NASA’s Jet Propulsion Laboratory say the variation in possible nearest distances for this asteroid is due to the wide range of possible trajectories for this object, which was tracked for only a short time after its discovery in 2013.” ~ Uncertainties, still, for asteroid 2013 TX68 [Earth Sky]
That aliens and asteroids are used to reinforce a constant conscious, or unconscious, sense of Fear, Uncertainty and Doubt (FUD) about our precarious place in the universe – one that emphasises both our smallness in the cosmos and powerlessness in face of such overwhelming forces – is of course of complete aid to the Technocratic Project. And, just as with the Breakthrough Listen SETI project, the fact that the Plutocrats can step in where the States of the World have failed only reinforces their position in the minds of the citizens… sorry, consumers of this overall narrative.
Not that the asteroid has to even hit the Earth to have a major impact on the planet. As the opening scene of Gravity graphically rendered, it would just have to hit one of the many artificial satellites in orbit that our technological civilisation is so dependent on now and trigger the cascade of the collisions known as the Kessler Syndrome:
The Kessler syndrome is especially insidious because of the “domino effect” and “feedback runaway” wherein impacts between objects of sizable mass spalls off debris from the force of collision. The shrapnel can then hit other objects, producing even more space debris: if a large enough collision or explosion were to occur, such as between a space station and a defunct satellite, or as the result of hostile actions in space, then the resulting debris cascade could make prospects for longterm viability of satellites in low earth orbit extremely low. However, even a catastrophic Kessler scenario at LEO would pose minimal risk for launches continuing past LEO, or satellites traveling at MEO or GEO. The catastrophic scenarios predict an increase on the number of collisions per year, as opposed to a physically impassable barrier to space exploration which occurs in higher orbits.
A scenario that like everything else we’re examining here functions perfectly well as a cover story too. Need to shut off global communications and media in a hurry, but don’t quite have the alien aesthetic vehicles ready yet? Blame it on the bolides! Or just explode one of the many pieces of space junk currently in orbit.
In answer to the asteroid threat – which many space scientists and journalists swear is actually so small as to be of no consequence, whilst others warn of a death rain of giant comets resulting in “prolonged periods of bombardment lasting up to 100,000 years” – a private space program is trying to step up to fill the gap and literally save the world.
The Sentinel design is for an infrared space telescope that will orbit the Sun interior to the orbit of Earth. From this vantage point, Sentinel can provide an ideal counterpart to Earth based observatories such as the Large Synoptic Survey Telescope which will also track asteroids.” ~ The Sentinel Mission [B612]
A side benefit being that this would also track any incoming alien motherships – or exiting Secret Space Program craft – so long as the information relayed to the public via the (corporate controlled) media can actually be trusted.
This further emphasises the degree to which, as we examined in Part 1 with the very same quote, Arthur C. Clarke’s debut novel, Childhood’s End, is rife with pro-tips for affecting a Technocratic Coup via False Flag Alien Invasion:
There was only the single ship now, hanging above New York. Indeed, as the world had just discovered, the ships above Man’s other cities had never existed. The day before, the great fleet of the Overlords had dissolved into nothingness, fading like mists beneath the morning dew.
The supply ships, coming and going far out in space, had been real enough; but the silver clouds that had hung for a lifetime above almost all the capitals of Earth had been an illusion. How it had been done, no one could tell, but it seemed that every one of those ships had been nothing more than an image of Karellen’s own vessel. Yet it had been far more than a matter of playing with light, for radar had also been deceived, and there were still men alive who swore that they had heard the shriek of torn air as the fleet came in through the skies of Earth.” ~ Childhood’s End, Arthur C. Clarke (1953)
Unlike in Childhood’s End, the disguise the would-be “Technocratic Overlord of Earth”, Simon Sparrow, is using is far from sophisticated.
Whilst Arthur C. Clarke was giving full range to his imagination at the very beginning of his career – and interestingly, before soon after publicly recanting his interest in the paranormal (almost as if he’d be let in on the Plan by then) – painting vivid pictures of demonic looking aliens, in this episode of The Man From U.N.C.L.E a much simpler effect is utilised.
Yet the viewing public in 1966 would instantly recognise such imagery, consciously (or unconsciously) knowing that it was invoking the by then well-established science fictional universe conjured by films from the previous decade. Simon Sparrow’s carefully crafted alien couture cleverly calls back to one film from that period in particular; The Day The Earth Stood Still.
In that film, the very human-looking alien, Klaatu, delivers this speech, which with its threat of not just a global, but intergalactic police state, would give anyone currently dreading a N.W.O takeover waking nightmares… unless of course, they were the one delivering it in disguise, for the rest of our benefit.
Simon Sparrow, on the other hand, simply uses his fabricated alien platform to anoint himself as the appointed proxy of technomagical higher beings from across the galaxy:
Further illustrating the degree to which this TV show demonstrates a perfect rendering of an early iteration of a Plutocratic Takeover via False Flag Alien Invasion, as documented in the first instalment in this series, Sparrow’s plan involves
What is even more interesting, though – especially to this overall examination, the larger Plutocratic Exit Strategy itself – is how Simon Sparrow’s machinations fail, and how this closely parallels another attempt at Plutocratic Takeover. Sparrow’s failure mirrors the faults previously explored in the examination of another early iteration of Plutocratic Takeover; more precisely the Plutocratic Exit and DePopulation of the Earth variation.
Sparrow is – of course, by the natural logic of the TV universe – defeated by the Agents of U.N.C.L.E before the episode ends. Since it wasn’t to hit the screen for another decade, he wasn’t able to observe the metafictional lessons on offer from other supervillains, that he might better model his plans and learn from their errors. Because he makes exactly the same mistake as the Bond Villain Drax does in Moonraker: attempting a solo mission – a Plutocratic Plan of One – instead of enlisting the aid of the entire Elite.
In the film Kingsman: The Secret Service, its villain, Valentine – an admitted Bond film fanatic in the midst of a very self-aware movie – has the benefit of reflecting on his previous role models’ failings; as I explained in Part 2 of the Plutocratic Exit Strategy:
Where Valentine spends the first part of the film recruiting the Elite to join him and be saved, Drax goes it alone; it’s a Plutocratic Exit of One. He is defeated when two of the world’s best spies – one from the CIA, one from MI6 – unite against him; acting as the tip of the spear for their home country’s power base, utilising all the strength of their military industrial complex. Valentine is able to call on the resources of all the complicit nations’ intelligence agencies – the Kingsman (as we defined them in Part 1) are a true Shadow State, intentionally existing outside the world’s power structure, their independence one of their greatest strengths. Of course, as we’ve just seen, once Valentine learns of them, this splinter group of the Elite comes onboard with his program just as willingly.
What Drax dramatically demonstrates is the Plutocratic Exit Strategy sans Shadow State backing. The fact that Drax has a Secret Space Program gets him nowhere.
The Man From U.N.C.L.E, just like Moonraker, features a team-up between two of the world’s best spies – one from the US, one from the then USSR – who are able to call upon the resources of the whole world (presumably) via the UN, if required.
The fact that Sparrow has engineered a False Flag Alien Invasion gets him nowhere.
Something that a certain Plutocrat of our time, one that likes to play Bond Villain for da lulz, might be keen to take note of.
By now we should have at least established some idea of how the alien aesthetic has been constructed through science fiction, and how it can be utilised in the service of a Plutocratic Takeover via False Flag Alien Invasion. With this understanding of how both things have been iterated upon across the decades, it’s time now to look at a parallel narrative and explore the complicated intersection between the explicitly fictional universes, and the overtly political and corporate dimensions to this story…
To be continued next week in ORIGINS OF THE FALSE FLAG ALIEN INVASION – Part 2: Plutocrats & Politicians Want You To Believe.
Thanks for reading!
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