Who produced the movie called Reality?
By Jon Rappoport
April 2, 2014
This question would strike most people as strange, to say the least.
But it’s strange only because most people don’t grasp the idea that they can invent reality themselves.
For them, reality sits there like an old plate of scrambled eggs, day after day, year after year. Wake up in the morning: yup, there’s that old plate of eggs.
The analogy breaks down, because they don’t eat the eggs and move on. They just look at them.
Artists, however, about whom I write much in these pages, take a different approach. They never got the memo about the unchanging nature of things.
Nor were they informed that change always comes from Someplace Else.
While I’m at it, here’s another message artists haven’t fully signed on to: “the patterns inscribed in the universe are so stunning, they should be worshiped on bended knee.”
Fractal this, sacred geometry that? All right, sure, quite interesting, but every work of art can be analyzed and found to contain patterns, even if the artist didn’t think they were particularly important, even if he didn’t put them there.
And the universe (the movie) is just that, a work of art.
The movie called Reality is one production out of a possible infinity of films. Whichever studio produced it was, as all studios do, hoping for boffo box office—and they got it. This universe is a hit.
People line up around the block every day, waiting to get in.
But as we all know, commercial success is a deeply fallible indicator of value. You can get a few million people to watch a video of a singer who can’t sing singing a song a composer who can’t compose, composed.
Whichever studio produced the movie called Reality was committed to enduring appeal, in the same way that people behind a soap opera design it to hook in audiences and addict them.
Taking this a step further, many people build their own lives as works of art that will addict them. As in: I’m hooked on my own life.
And not in a good way. Rather, these people construct their lives so they’re filled with just the right amount of sentimental chaos, demanding their undivided attention. Today’s crisis blends into tomorrow’s faux tragedy.
The movie called Reality (this universe) is injected with the illusion of “forever and everywhere.” In other words, it seems never to end and it seems to occupy space wherever space is available.
And then there are the rules. One: there will be no new space. Two: every event will appear to be the result of a long, long chain of previous causes and effects.
Therefore, if a person does something that jumps outside the chain, he is informed that he is nuts. And representatives (paid and unpaid), who are defenders of the movie, reassure one and all that the links of cause and effect are intact and can never be disturbed.
These reps are actually claiming (though not publicly) that everything, including people, inside the movie are nothing more than waves of tiny, tiny predetermined particles in motion. Which means: there is no such thing as freedom.
But this doesn’t sell well to the majority of the audience. So, at the same time, freedom is promoted as a feature of the movie. An obvious contradiction.
Did I fail to mention that the movie called Reality is displayed so that everyone in the audience is also in the movie? Yes, this is certainly a key factor.
It’s holographic. Watch it, exist inside it.
I should also lay out a few other strategies of the movie producers. They enlist artists to produce other work that, while appearing to be original, actually promotes the notion that the central movie is the end-all and be-all. This is called Realism.
They also fund various “spiritual” groups to devise complex systems that pay homage to the movie—as if it is a sacred object worthy of genuflecting worship.
“I’m waiting for the universe to tell me what to do. The universe is the source of wisdom. If it’s meant to be (by the universe), it’ll happen. If not, it won’t. We’re all ultimately connected in the universe.”
Meaning: you can’t walk out on the movie.
Lesser forms of this command abound: you can’t walk out on the government, you can’t walk out on the money system or the medical system or the energy grid or the surveillance state or the consensus culture or religion or the corporate empire or the approved sources of information.
Mostly, you can’t walk out on the space-time of the movie called Reality. You can’t walk out, come back, walk out, come back, and walk out at your pleasure.
If you could, that would be magic.
And there’s no such thing as magic.
So say the movie producers, who want a monopoly on that quality.
The author of two explosive collections, THE MATRIX REVEALED and EXIT FROM THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at www.nomorefakenews.com