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Ryan Seacrest (0:00)
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Jay Dyer (1:11)
While other networks lie to you about what's happening now, Infowars tells you the truth about what's happening next. Visit infowars.com forward slow and share the link today. Welcome to the fourth hour of the Alex Jones. I'm your guest host Jay Dyer of Jay's Analysis. Today we're going to do something a little bit different. I want to give us a deep dive into the novel and the film Dune by Frank Herbert. Dune is the 1965 novel that I think is typically classed as the top selling science fiction novel of all time. I remember growing up watching this, the David lynch version, which many people dislike, actually like it quite a bit. I didn't read the novel until some years into the 2000s. I forget exactly what year. And I remember Alex talking about the Dune series quite a bit and I remember that Salusa Secundus is the prison planet. So I thought, well, maybe there's some association that Alex had between why he named one of the websites Prison Planet and this, this, this element of Dune, this great story. So I decided to dive into it. And I've not read the whole series. I'm about three novels in, but I have read the first one with much attention and detail. And the reason that I was really blown away was that Herbert includes a tremendous amount of geopolitical, religious, sociological, ecological, esoteric, you name it, it's all included in this novel, which is very, in my view, very rare for sci fi. Every now and then a science fiction author, maybe a Philip K. Dick, or maybe even somebody like a William Gibson, you know, they'll include some pretty esoteric elements, but they don't usually get into things like real world geopolitics. Putting that into the novel. Mind control, alternate personalities, genetic memories, trigger codes, assassins, the kind of stuff that we read about in the CIA's MKUltra documents. It's very odd to find this in a 1965 novel from Frank Herbert. And so with the recent release of Dune from the famous director Dennis Villeneuve, don't you dare say Villanueva, even though that's what it looks like, because every nerd will immediately correct you. This recent instantiation I thought was really well done. And then of course, Dune 2 came out a couple of weeks ago and is now considered like the new Lord of the Rings. The nerds are going crazy. It's getting all these accolades, might win awards, and I believe they just confirmed that they're going to make the next one Dune Messiah. So you say, well, this is pop culture. Why do I care about this? Because remember, as we've covered here in my analysis on several fourth hours and in my two books, Esoteric Hollywood 1 and 2, I do have an in depth analysis of Dune in Esoteric Hollywood too, if you want to read that literary essay. It's important to do this because a lot of times the fiction prepares us for where the system wants to go. We call that predictive programming. Not all fiction is predictive programming. Not all movies are necessarily predicting the future. Sometimes authors and writers who write perhaps come out of the intelligence world want to put what really happened into their stories. For example, I watched this week a series called Little Drummer Girl, which is a 1982 John Le Carre novel. John Le Carre was in the British intelligence service, that whole sector. He worked for MI5 and for MI6. And so he put those real world things that he learned into his stories, much like Ian Fleming did, but in a more realistic way. James Bond is very kind of cartoonish and got a lot of Hollywood elements. Licare strived to have a really realistic approach to his spy fiction. But what's fascinating about that series is that it was written in 1982 and it dealt with the facing off between the Mossad and the plo. And so there's a lot of fakery There's a lot of stagecraft, there's false flags. All that goes into what you might expect in Le Carre, telling us, as the novel says, terror is theater. I'm not saying by that there aren't real terror attacks, that everything's fake. I'm not saying that. I'm saying that the point of the novel is that terror has a specific goal of theatrics, of scaring people. And Dune also includes a lot of these same principles of real world geopolitics. And although, as I understand he was Frank Herbert I'm speaking of, was a GOP speechwriter, I don't know that he had any necessarily intelligence connections, but he seemed to really know in some sense what was going on. Even getting to pretty wild things like geoengineering, terraforming, all kinds of wild things. This is the Alex jonestrum, your guest host, J. Dyer, as we do a deep dive into the predictive programming of Dune. Welcome back to the fourth hour of the Alex jonestrum, your guest host J. Dyer, Jay's analysis. And we're doing a deep dive into the story of Dune and both the written text from Frank Herbert and the visual presentations that we've seen, particularly the more recent release, the blockbuster Dune 2, which everyone is talking about, it's the first time many are saying that they've had a wild theatrical experience where they felt like a movie really moved them. And they say this hasn't happened since Lord of the Rings or since films like the Matrix, something like this, where both the visuals, the sound, the storytelling was all pretty much top notch. Now, as you said, Frank Herbert himself was an interesting character who was not on the liberal side of things. You know, you think of science fiction authors as being these sort of libs who want to promote the idea of never ending, so called progress. They're irreligious, they're against the mystical, they have a future of, you know, pure scientism and utopia ahead of us. And we don't find that in Dune at all. In fact, one of the most striking disparities between science fiction writers and what Herbert presents is the banning of AI in fact, in the world of Dune, there was this event that happened where AI got so advanced that it actually enslaved the humans. And So I think 10,000 years or so before the events of what we read in Dune, there was this jihad, they called it, it's called the Butlerian Jihad. And this was a religious crusade against AI So not only is there no future utopia in this series, but there's also a specifically Anti AI, pro human bent. And in regard to the villains, you have this nefarious coalition of the Emperor, who is the emperor of the known universe, who's made an alliance with one of the royal houses known as the Harkonnens. The Harkonnens are these very degenerate pedophile and in some versions, cannibalistic people group who basically live on an HR Giger style planet. And their plan is to take over the planet of Dune or Arrakis, which is a desert planet where there is this drug that has all of these mystical powers and capabilities known as the spice. And to control the spice is like controlling something like the heroin trade or to control something like oil. So imagine if you could combine oil and heroin. That's what we would have with the spice or maybe something more hallucinogenic than heroin. But in regard to geopolitics, it fits very well with Herbert. Borrowing from Middle Eastern cultures such as Sufis, or borrowing from Sunni Islam, or borrowing from Bedouin tribes, these all go into being the influences for the native people of the planet of Dune called the Fremen. And I think there's a play on words there, the free men. So they have an odd sort of syncretistic religion, the Fremen, where they have been influenced by Zen philosophy, Sunni Islam, paganism, Catholicism. Because after the Butlerian Jihad, there was a universal galactic ecumenical council, basically like Vatican 3 in space, where an ecumenical council of dorks compiled together basically a new religion. And this religion became a quasi humanist religion and kind of a process philosophy where man could never be enslaved to AI. So a big, a big pillar foundation belief of the future religion here is anti AI. They do have tech, so don't misunderstand me, they have very advanced technology and they have genetically advanced human beings and people that are genetically modified, but not AI. And so again, unique turn of events there with contrasting that to most science fiction. There's also the, as we said, this coalition of corrupt people who, with the Emperor and the Baron, they want to take over this planet and to really harvest the profits. And they work together with this economic entity called the Guild and the Guild and the Navigators. These people, they control travel and they control the spice. That's their goal, is to completely control it. And they'll have the upper hand in the universe by doing so. But in order to do this, they have to get rid of certain rival families. That's the Atreides family. So clearly Herbert is borrowing from a lot of classic stories of intrigue, courtly intrigue, espionage you could think about, you know, George R.R. martin's game of Thrones being very similar to what you see in Dune. But Dune was one of the first sci fi stories to really pull from medieval intrigues and espionage with houses and kings and queens. And again, that heraldry noble element, the hierarchical monarchy element is not something you typically think of in terms of future science fiction. You think that's, oh, that's a relic of the past. Well, again, we have another thing that Herbert carries over, presumably because he thinks it's natural that hierarchy is natural to mankind. Hierarchy is found in nature, dominance, hierarchies, right? That's never going to go away. There's always going to be these hierarchies. And so he puts this into his, his stories. And this, as we said, this house that's being persecuted, this noble house, the Atreides, they're known as a righteous household. They're a good noble family. They come from a water based planet called Caladan and they intend to be the rulers. They're being baited into coming to this planet to be, as they believe, at the friendship and behest of the emperor, given the dukedom or given the control of the planet of Arrakis. And they believe they'll make profit from this being involved in the spice trade and so forth. And of course they find out that this was a giant trap. It's kind of a false flag type of event where they're led into this scenario where they're trapped and almost all of House Atreides is destroyed except for the promising young protagonist, Paul Atreides. Paul, I think in the novel is something like 14, 15, 16 years old. So he's a younger guy. And if you watch the recent instantiation, they chose, I think, somebody who's a more fitting version of Paul and the older version with David Lynch, Colin McLaughlin is a little too old to be playing that character. But regardless, it's a very well executed presentation of the novel and it tries to stick pretty faithful to the story. There's some minor variations with the Zendaya character in the sequel Part two. But anyway, back to the main point, which is that, so we've got this imperial intrigue story, this planet with the resources trying to be controlled. What does this have to do with global geopolitical conspiracies and MK Ultra? Sounds like you're just reaching here, Jay.
