Wild Things is a 1998 erotic thriller which is usually seen as a tacky, trashy sex movie set in the glossy upper class world of Blue Bay, Florida. This week we take a closer look at this film, examining its complex plot as a clue to what lies beneath the bikini-clad surface. We examine various aspects of the film that are hallmarks of classical theatre, from the soundtrack as a Greek chorus to the theme of water as a form of catharsis that runs throughout the film. The concept of theatre-within-theatre is also explored, focusing on two scenes in the film where the producers are self-consciously admitting what it is they are doing. We round off talking about the implications of the film for a modern America that is largely ignorant of its classical roots. (Read more...)

Chase Brandon was the CIA's first Entertainment Industry Liaison. From 1996 to early 2007 he was the CIA's man in Hollywood, working on a dozen major movies and numerous high-profile TV shows. In this episode we examine the background of the CIA in the entertainment industry and how they founded their Entertainment Liaison Office and appointed Brandon in charge of it. We also discuss Brandon's career, especially his attempts to downplay and disguise his influence on entertainment including ghost-writing The Recruit. We finish up talking about how he helped TV series The Agency to predict the future, and the links between Brandon and the film Wag the Dog. (Read more...)

Phil Strub has been the Pentagon's Hollywood liaison since 1989, in which time the entertainment liaison offices have helped produce over 100 films. In this episode we take a closer look at Phil Strub, his background, how he came to be the DOD's Hollywood liaison and his curious habit of downplaying or minimising the role of the Pentagon in the entertainment industry. We examine his statements in an interview on The Kojo Nnamdi Show and his claims that the DOD weren't involved in Tomorrow Never Dies and withdrew co-operation from The Avengers. We finish up with a brief look at the recurring themes and worldviews in the films with which Strub and the Pentagon have collaborated. (Read more...)

Disney are one of the world's largest movie studios and producers of entertainment. They have enjoyed this status for decades, recently acquiring both the Star Wars and Marvel franchises, among the most profitable in the cinema industry. The relationship between the corporation and government agencies has been almost continuous for more than half a century. In this episode we look in particular at the relationship between Disney and the FBI, including Walt Disney's role as an FBI informant and how the FBI shaped Disney propaganda about the Bureau. (Read more...)

Tom Clancy's books are known for their technical accuracy, their political realism and their curious ability to foreshadow future events. In this episode we explore his government connections - to the FBI, CIA, Pentagon and the White House. We examine whether these connections are what enabled Clancy to write such prophetic fiction, and the impact of that on his readers. We also look at the influence of Clancy's work on the government, from an elaborate inside joke within the CIA to the reading habits of Ronald Reagan. We round off looking at two possible Clancy copycats, both American men who flew planes into buildings (one before 9/11 and one after). (Read more...)

Tom Clancy was one of the most popular spy authors of all time, but was he a spy himself? What are the nature of his government connections? How were the film adaptations of his novels supported by the Pentagon and the CIA? What script changes were made by the DOD in exchange for their support? In Part I of this two-part podcast we examine five Tom Clancy films - The Hunt for Red October, Patriot Games, Clear and Present Danger, The Sum of All Fears and Jack Ryan: Shadow Recruit. I outline the government involvement in each adaptation and the censorship involved in their production. (Read more...)

Mockumentary is perhaps the best sub-genre of cinema, and conspiracy-themed mockumentaries even more so. In this episode we look at four films - The Conspiracy, The Last Broadcast, Trollhunter and Apollo 18 - and examine why conspiracy mockumentaries are so good. The blend of realistic documentary formats with fantastical and absurd subjects not only makes for very original and entertaining watching but also affirms and subverts the conspiracy culture at the same time. I consider the effect of this on the watching audience, and on their opinions of what is plausible vs. what is implausible. (Read more...)

The philosophy of Carl Schmitt asserts that for a state to be identifiable and legitimate it has to employ an enemy image - the perception of a threat from the Other. In this episode we explore whether this philosophy has been adopted by the Pentagon as part of their operations in the entertainment industry. I conclude that there is a major exception - namely China - who the Pentagon do not want to be part of the enemy image portrayed by Hollywood, and speculate as to the reasons why this is. (Read more...)

The X-Files new mini-season has been accused of being an admission of truth by the global elite, a type of predictive programming and an attack on conspiracy theorists. In this episode we explore the possibility that it promotes conspiracy theories and conspiracism as a way of thinking far more than it mocks or discourages those things. I highlight several scenes from throughout the new season that show how in particular the Mulder and Tad O'Malley characters are designed to draw the attention and sympathy of conspiracy theorists. I finish up looking at how Spooks was doing a similar thing 10 years ago with the theory that Princess Diana was assassinated. (Read more...)

This short episode is an update on my recent Freedom of Information fun. I talk about my successful and not so successful requests to the Pentagon and my ongoing struggle with the Foreign Office to reveal further details of their involvement in the entertainment industry. Finally I outline my efforts to find out more information about how a movie crew was allowed to blow up a bus in central London and why the MOD, MI5 and MI6 were told in advance but the public wasn't. (Read more...)