Producing the movie called Reality
by Jon Rappoport
February 27, 2015
For most people, reality sits there like a plate of scrambled eggs. Wake up in the morning: yup, there’s that plate of eggs.
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, or the memo declaring 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 some works of art can be analyzed and found to contain patterns.
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 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.
The movie called Reality (this universe) is injected with the illusion that it never ends 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 viewed with deep suspicion. 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.
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 producers. They enlist artists to create other work that, while appearing to be original, actually promotes the notion that the Central Movie is the end-all and be-all.
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 movie to tell me what to do. The movie is the source of wisdom. If it’s meant to be (by the movie), it’ll happen. If not, it won’t. We’re all ultimately connected in the movie.”
Meaning: you can’t walk out on the movie.
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.
But they don’t have a monopoly.
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 emails at NoMoreFakeNews.com or OutsideTheRealityMachine.