Heroes and villains: images for the soul

by Jon Rappoport

June 19, 2018

—Yes, movies are made to install predictive programming in the audience, and to plant values and behaviors, and to debase the culture, and so forth and so on. But in many movies, something much simpler is going on…

Whether it’s the good cop capturing the bad criminal, or the warrior in outer space defending the home planet against evil marauders, heroes and villains in movies spark deep resonance in the viewing audience. A link is forged.

“I want this hero. I want this hero to win. I want the good to triumph. I want evil to be vanquished.”

And why not?

These heroes, in their fictional worlds, are keeping the future open. They’re guarding their civilization. They’re keeping The Individual free—free to pursue happiness and fulfillment according to his own dictates, dreams, visions, and plans.

At bottom, this is what thousands of movies are about. The audience may not be able to drill down to the core of meaning, but they absorb the message on an emotional level. They feel a moment of inspiration. A flame of hope is lit.

The urge to tear down all heroes and dismantle the best ideas and principles of society is, for an hour or two, put on the back burner. Instead, the viewer sees his own possible advance toward manifesting what he truly desires in life.

No movie has ever produced this salutary effect by portraying a group as an amorphous mass—it’s always the individual hero who stands out and carries the plot line. This is vital. The audience responds to this.

The audience member sees his own victory mirrored in the individual hero’s victory.

And then, in “real” life, it all changes. At that point, we are supposed to accept something decidedly different: the winning of the future by and for a Collective.

What happened?

A delusion happened. Is happening. It’s called utopian programming. It’s called propaganda.

All of a sudden, a big vague WE takes center stage. WE are going to curtail our best individual visions and join “everybody else” in creating a better world.

Who is promoting this?

Controllers. Elite controllers.

Sitting in the dark and opening up our consciousness to a brave hero on the screen is one experience—but this is supposed to be a fantasy of no value with no carryover to life in the world.

The entire emotional intensity in the theater is supposed to be an illusion—the real thing is dullness and grayness and sameness and uniformity and the big WE. Carve and cut down your best vision of you and your future to fit the WE.

This is pure insanity.

An analogy: you fall asleep and have a dream about climbing a formidable mountain. You reach the summit, after dispatching various opponents, and there you look out at a quite fantastic landscape of a marvelous new world. Then you wake up and, taking no inspiration, you consign the whole experience to the garbage bin and go out into a day of conformist grayness, committed to an endless round of repetition.

Absurd.

Your projections and connections on the inner screen of consciousness—no matter where the stimulus comes from—are meant to be clues about a Greater Existence. Yours.

Another analogy: Someone says to you, “I’m going to give you the money to design and build a huge ship. Now, the question is, do you want it to ride the waves to distant ports, or do you want it to sink? I need to know, because if you want it to sink, I’ll reconsider the financing. I’m assuming your vision of a ship is positive. It works. It travels. Otherwise, why do you want to build it? Why do you think about it? Why do you have your vision of it?”

In a theater, in the dark, a movie shows you the triumph of a hero against great odds. For an hour or two, you buy in. You immerse yourself in the drama. Then you leave. What do you take with you? You have a choice. The movie isn’t inherently disposable and worthless.

If you stop and think about it, the victory of the hero—and I mean the feeling and the impact and the power of the victory—are actually happening in your mind. They’re not happening up there on the screen.

And since this is so, you’re already disposed to triumph.

THAT’S something to cogitate on.

If you want to take this to a more abstract level, what is THOUGHT for? Ultimately, your thoughts are elements you use to help you attain what you deeply desire. Thoughts aren’t obstacles that rule you. That’s backwards.

Why live backwards?


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE 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 NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

4 comments on “Heroes and villains: images for the soul

  1. Reblogged this on AfterHollywood and commented:
    Happy Tuesday to all my AfterHollywood.Online followers. This is a must read. Peace, Hugs, Mitch 🙂

  2. Jon, I have often asked the question whether the cop and criminal are identical in character. One, surely, is risk adverse and merely opts for the path towards safety “under protection of the system”. Whereas the other is a risk taker, responding only to the greatest challenges which “go against the establishment”.

    I have never identified a cop or a criminal that isn’t a “hater”.

    Best
    OT

  3. pearl says:

    “No movie has ever produced this salutary effect by portraying a group as an amorphous mass—it’s always the individual hero who stands out and carries the plot line. This is vital. The audience responds to this.”

    I’ve been frustrated by this plot device for some time. It’s interesting to watch period dramas based on the works of Dickens (i.e. “Bleak House”), Tolstoy (“War & Peace”), Gaskell (“North & South”) and note the rich tapestry of characters’ dilemmas and interactions toward a happy ending vs. the one hero to save the world in today’s movies. I fear the “one hero” recipe feeds the tendency we have in us to wait for someone else to fix something. I find more inspiration in a cast of complex, flawed protagonists who each struggle against numerous obstacles and antagonists than I do in superman.

    There is a sci-fi series currently airing its 3rd season called “Colony” which has a more realistic feel as far as illustrating humanity goes, contrasting sold out fearful people with various resistance groups fighting a newly established totalitarian government. Some of these resistance groups are collectivists and just as toxic as the despots they’re fighting, while the main protagonists are like most of us: tested, conflicted and who want to be free, not just survive, making me wonder if any of the screen writers are “closet Randians”.

  4. stiegem says:

    Movies are “good”, right? I love film as the art it is. But movies with individual superheroes are bad, right? Because they are not “real” in real life. It takes more than ONE. It takes a Village (as Hilary says). But then religion is bad too (especially Christianity), because there’s that ONE “superhero” (aka Jesus Christ Superstar) who saves us ALL (IF we believe in him). My logic is “OFF”, right? My daughter is an IP attorney with Google in San Francisco for VR and AR. She’s always been super enamored with the Marvel and Harry Potter, et al. It has brought her HUGE success. I don’t understand the thought process. Jon, can you help me understand? Anybody?

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