It is with some pride that I can announce that the American Journal of Economics and Sociology has today published an edition featuring not just one, not just one and a half but two articles that I wrote. The latest issue of AJES focuses on the role of the CIA and DOD in Hollywood and includes articles by Pearse Redmond, Aaron Franz, Tarzie and others.
Die Another Day is widely considered to be one of the worst James Bond films ever made. It’s the one with the invisible car in the ice cave and Halle Berry. The production got limited supported from the US Marine Corps, who recently released a short folder to me from their entertainment liaison office archive.
Julian of The Mind Renewed invited me back onto his show to discuss the link between false flag terrorism and training exercises. While this is usually talked about in a very simplistic and historically ignorant way, the method of using a drill or training exercise to cover for a black operation is a real tactic. However its popularity among conspiracy theorists raises the question of whether it is now being used as a means of distracting those who are sceptical of the government accounts of terrorist atrocities. From the 7/7 London bombings to the Anders Breivik massacre to the Boston marathon bombing the emergence of rumours or stories of the attacks coinciding with a training exercise have been seized on as providing proof that the government are (a) lying and (b) secretly behind the attacks. In this conversation we put that idea to the test, recounting some of the history of this tactic being used, the more recent examples that have been interpreted in the same way, and this idea’s appearance in numerous state-sponsored films and TV series.
What connects JFK, Allen Dulles and the CIA’s invasion at the Bay of Pigs to the movies Thunderball and Goldfinger? The answer is the relationship between the CIA and James Bond. In this episode we look at Fleming’s decades-long relationship with American intelligence, from the OSS through to the CIA, and how Dulles’ friendship with Fleming allowed the Agency to quietly improve their public image via the James Bond novels. We also examine how the CIA were invited to a screening of Goldfinger by Charles Russhon – the military consultant and technical advisor on the early Bond movies. Rounding off with the story of the CIA’s secret support for the movie of Thunderball and its connections to JFK and the Cuban Missile Crisis, this is an epic exploration of the relationships between popular culture, high politics and intelligence.