January 17, 2025 • 29 mins
Explore the fiery legacy of Mao Zedong’s Prairie Fire manifesto and how it has scorched its way through Hollywood and California. From Karen Bass’s Marxist-Leninist ties to Jane Fonda’s controversial activism during the Vietnam War era, this episode unpacks how Hollywood became a vehicle for political propaganda. Mismanagement of LA’s resources, cultural decay, and the literal fires ravaging the city all point to a much darker agenda. How is chaos being wielded as a weapon to undermine America from within?
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Robert Antonellis (00:18):
Hi and welcome to PSYOPWARS - D ecoding
the Deep State.
I'm Robert Antonellis, and thisis Episode 3, Mao's Prairie
Fire Torches Hollywood.
Prepare to be shocked by whatyou're about to hear.
This episode is going to movefast.
I've got so much to share, toomuch to leave out, and every
piece of it matters.
So buckle up, because we'rediving straight in.
(00:40):
Today we'll uncover how MaoZedong's revolutionary
strategies ignited culturalchaos in Hollywood, shaping not
just the movies we watch but thevery fabric of our society.
From ideological fires toshadowy arsonists.
Let's decode the deep state'sfingerprints on America's
cultural epicenter.
What you're about to hear is astory about Hollywood's shadows,
(01:03):
not its glamour.
This is not fiction.
Hollywood, long celebrated forcrafting cultural narratives
that captivate the world, hasalso been the stage for
real-life tragedies that defyexplanation.
From the 1947 murder ofElizabeth Short, known as the
Black Dahlia, to the chillinghorrors of the Ex exorcist and
(01:23):
the gruesome killings of SharonTate and Rosemary LaBianca in
1969, these events suggest adarker, hidden script, a script
born from the madness of MaoZedong's 1939 manifesto A single
spark can start a prairie fire.
This manifesto, designed toignite revolution and spread
chaos, casts its embers farbeyond China, with sparks
(01:47):
landing even in Hollywood.
Could the flames we see today,the Palisades fires that blacken
the hills, be echoes of thismadness, consuming not just
landscapes but society itself?
Hollywood has long beencelebrated as the master
storyteller, crafting narrativesthat shape and reflect the
culture of their times, but insome cases, those stories seem
(02:08):
to mirror real-life chaos, andall too closely.
In 1939, the Wizard of Oz tolda tale of upheaval and
transformation, even as MaoZedong released A Single Spark
Can Start a Prairie Fire,calling for revolution and
destruction.
Decades later, prairie firecalling for revolution and
destruction.
Decades later, rosemary's Baby,1968, and Helter Skelter, 1969,
(02:31):
seemed to foreshadow thesocietal breakdowns.
They coincided with thechilling irony Roman Polanski,
the producer of Rosemary's Baby,was in Italy at the time of the
Tate-LaBianca murders, wherehis pregnant wife, sharon Tate,
was brutally killed, a storythat seemed ripped directly from
the sinister themes of hisfilms.
Were these just coincidences,or did Hollywood's scripts serve
(02:54):
as embers igniting the flamesof societal unrest?
The narratives of upheaval,division and fear they wove may
not have been entirely fictional.
Instead, they may have beenpart of a larger cultural script
, one that subtly, and perhapsintentionally, mirrored the
chaos taking root across theworld, events that at first
seemed like mere mismanagement,failures of governance or
(03:17):
environmental oversight mayinstead be pieces of a much
darker script, a script designednot to fix problems but to
create chaos, dependency andcontrol.
Nowhere is this more evidentthan in the way California
handles its most preciousresource water.
California's water policiesexemplify what appears to be
(03:37):
mismanagement disguised asenvironmentalism.
Billions of gallons of freshwater were dumped into the
Pacific to save the delta smelt,an invasive species not even
native to California, deprivingfarmers and draining reservoirs
essential for wildfireprevention.
Meanwhile, offshore wind farms,pushed by Green New Deal
(03:58):
advocates, have caused alarmingwhale deaths along the Pacific
coast, prioritizing foreignprofits over genuine
conservation.
In this episode, you'll see howwhat appears to be negligence
in fire prevention and watermanagement may not be mere
incompetence.
Could it instead be Mao'smismanagement, a deliberate veil
(04:19):
concealing a calculatedstrategy rooted in chaos and
dependency?
The patterns are disturbinglyaligned with the destabilizing
tactics outlined in Mao'sPrairie Fire Manifesto, hinting
at an agenda far more sinisterthan it seems.
But how did Mao's revolutionaryblueprint infiltrate American
soil, gaining traction andinfluence over decades?
(04:40):
The answer lies in a network ofdomestic actors who embraced
his ideology and began scriptingtheir own chaos.
The Weather Underground andStudents for a Democratic
Society were more than justradical student organizations.
They were conduits for Maoistideology in America Emerging in
the 1960s.
(05:01):
The SDS initially sought totackle civil rights and anti-war
causes, but it soon fractured,giving birth to the Weather
Underground, which embracedviolent revolution.
Drawing inspiration from Mao'sPrairie Fire Manifesto, the
Weather Underground co-founders,bill Ayers and Bernadine Dorn,
published their own incendiarytext, prairie Fire the politics
(05:23):
of revolutionaryanti-imperialism.
Their intent was clear ignitechaos, dismantle the
establishment and destabilizesociety, all under the guise of
resistance.
Their claim of terror includedbombings of police stations,
courthouses and governmentbuildings, accompanied by
slogans like off Pigs.
These weren't just isolatedacts of rebellion.
(05:45):
They were the first sparks of adomestic prairie fire designed
to erode public trust, instillfear and create impoverishment.
The group did not dissolve, aslaw enforcement likes to claim.
It just went deeper underground, as their name suggests.
Today, movements like BLM andAntifa echo the same disdain for
(06:06):
law enforcement, fiery rhetoricand tactics of destruction.
These modern manifestationscontinue the legacy of the
Weather Underground's Maoistplaybook, suggesting that the
revolutionary spark lit in the1960s was never fully
extinguished.
It simply adapted, waiting forthe next opportunity to spread.
(06:27):
Jane Fonda's radical legacybeing a cinematic princess as
close as one could get wasn'tjust about her roles in
Barbarella and Clute, the latterearning her an Academy Award,
that cemented her place in thepublic eye.
It was her off-screen activismthat captured global attention
and sparked intense controversy.
Fonda's connection toradicalism was solidified
(06:49):
through her marriage to TomHayden, co-founder of the
Students for a DemocraticSociety, sds, and a leading
figure in the infamous Chicago 7trial.
Following the violence at the1968 Democratic National
Convention, the SDS, underHayden's leadership, began as a
student activist group butmorphed into a launchpad for the
(07:11):
far more militant WeatherUnderground.
The name Students for aDemocratic Society itself is a
subtle attack on America, usingthe word democratic as a
deliberate misdirection toconfuse and undermine the
concept of America as aconstitutional republic.
This linguistic shift was partof a broader campaign to dumb
(07:31):
down America, eroding its corevalues and institutions.
The Weather Underground, birthedfrom SDS, didn't merely oppose
American policies.
They sought to dismantle thenation entirely, embracing
Maoist tactics to wage their war.
Fonda's alignment with theseideologies was far more than
(07:52):
symbolic.
Her infamous photo in NorthVietnam smiling in a North
Vietnamese anti-aircraft gunused to shoot down American
pilots, stands as a hauntingimage of her allegiance to
America's enemies.
Meanwhile, hayden's involvementin organizing the Venceremos
Brigade, which covertlytransported young Americans to
(08:15):
Cuba to train under communistrevolutionary leadership,
underscores how deeply connectedthese figures were to
anti-American ideologies.
While Hayden and his associatesframed these trips as gestures
of solidarity withanti-capitalism, they were in
reality collaborations withforeign enemies during the
(08:35):
height of the Cold War.
Fonda, married to Hayden for 17years, represented more than
just a Hollywood starlet turnedactivist.
She was the perfect example ofhow Hollywood was serving two
masters.
Her activism, which she framedas fighting for American ideals,
stood in stark contrast to therevolutionary ideology she
(08:56):
embraced, one that mirroredMao's vision.
Despite being the daughter ofHenry Fonda, an icon of American
values, her actions andaffiliations revealed a deeper
alignment with forces thatsought to dismantle those same
values.
The embers of Miles PrairieFire, which called for a violent
(09:16):
revolution to overthrow theestablished order, showed no
sign of waning in Hollywood,especially with the election of
Karen Bass as mayor of LosAngeles, a figure whose past
affiliations further highlightthis pattern.
As a member of the VenceremosBrigade to Cuba during the
height of the Cold War, bassopenly aligned herself with
(09:37):
Fidel Castro's revolutionaryregime, reportedly paying homage
to him as many as 14 times inthe early 1970s.
Yet one must ask did she everissue a mea culpa and swear her
allegiance back to the UnitedStates after kneeling at the
altar of Mao and Castro?
The answer appears to be no.
Instead, she demonstratedcomplete ineptitude in fire
(10:00):
preparation, even awardinggovernment workers major wage
increases while making cuts tothe city's fire department
budget.
This reckless prioritizationexposes her willingness to mask
her anti-imperialist disdainbehind a facade of incompetence,
leveraging Cuban training topursue an agenda contrary to
(10:22):
American ideals.
Before we talk about Henry Fonda, a quick word from our sponsors
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Back to Jane Fonda.
If the hatred runs this deep---If certain figures within
(11:27):
Hollywood were willing to alignthemselves with forces set on
dismantling America, how can wetrust the movies they created,
even those that seem wholesome?
Take Henry Fonda, for example.
His films like the Grapes ofWrath and Twelve Angry Men were
emblematic of a bygone era inHollywood, one that celebrated
American ideals of justice andmorality.
(11:48):
Fonda's characters representedintegrity, honor and fairness,
values that many Americans stillhold dear.
But how can we be sure thatthose same values didn't become
warped by the very forces thatlater set Hollywood ablaze with
movies like Rosemary's Baby, theExorcist and A Clockwork Orange
(12:09):
?
These films weren't justdisturbing.
They became symbols of thechaos and breakdown that would
soon echo through Americanculture, turning the silver
screen into a battleground forrevolutionary ideas and a call
for societal upheaval.
In December 1969, bernadine Dorn, co-founder of the Weather
(12:30):
Underground, addressed anaudience in Flint, michigan,
where she boldly claimed theweathermen love Charles Manson.
This chilling statement exposedthe deep admiration the Weather
Underground had for Manson'sviolent methods, methods that
sought to ignite a race war inAmerica.
By praising Manson, dorn andthe Weather Underground signaled
their willingness to adoptsimilar strategies of terror and
(12:53):
upheaval to achieve theirrevolutionary goals.
Manson's twisted plan totrigger chaos through murder and
violence paralleled the WeatherUnderground's own desire to
destabilize American society,revealing a disturbing alignment
of purpose and methods.
When Dorn expressed admirationfor Manson, it raises an
intriguing question Did JaneFonda, the darling of Hollywood
(13:17):
known for her activism andcontroversial associations,
share any alignment withManson's vision of societal
upheaval?
Did she know any of the victimskilled that night?
And did Fonda ever expressremorse or reflect on the
horrifying violence that tookplace?
Manson's so-called inspirationfor Helter Skelter was taken
from the White Album by theBeatles, a work that, on the
(13:40):
surface, was not supposed toevoke violence.
But was this more Hollywoodscripting?
Consider the chilling detailsthat LaBianca, the last name of
the murdered couple, is Italianfor the whites, Were these
murders so heavily scripted thatthe preparation work was hidden
behind a wall of lunacy?
Where does ideology end andhumanity begin?
(14:02):
In the case of Sharon Tate,there are eerie connections to
violence and death that seem tocross into the realm of the
absurd.
In addition to her tragic deathat the hands of the Mansons
family, there's the strangeirony of the role she played in
the Vampire Killers, a 1967horror comedy film Directed by
Roman Polanski.
The film was a mix of blood andhumor, with Tate's character
(14:25):
drawn into the chaotic andcomedic vampire hunting antics.
It's unsettling to think thatTate, on the cusp of her career,
would play a role tied tovampires and killers, terms that
just two years later wouldtragically mirror her own fate
In the Vampire Killers.
The bloodshed is laced withhumor, but it's impossible to
(14:46):
look back without acknowledgingthe horrific real-life violence
that followed.
The irony doesn't end there.
On the night of theTate-LaBianca murders, the
brutality of the killings wasincomprehensible.
Sharon Tate, pregnant with herson, was stabbed multiple times,
and the murders wereaccompanied by messages written
in the blood of the victimsHelter-skelter and death to the
(15:09):
pigs, phrases that seemed rippedfrom the headlines of the
Manson family's warped manifesto.
The violence was horrific, butthere is a certain twisted irony
in the fact that the termhelter-skelter was also taken
from a Beatles song, one thatshould have been far removed
from any notion of violence.
Then, just one night later, atthe home of Mr and Mrs Leon
(15:33):
Labianca, the bloodshedcontinued.
What was even more chilling wasthe name of the victim's wife.
Rosemary Labianca seemed eerilyconnected to the earlier
Hollywood horror Rosemary's Baby, and with this connection it
all started to feel like part ofsome unified script, one that
intertwined the violence ofHollywood with the bloodshed
(15:54):
seen in the headlines.
In the case of Sharon Tate,there's a chilling sense that
her life, like the lives of theManson family members involved,
wasn't just playing out in realtime but instead was unfolding
as if scripted.
The connection between themovies Tate starred in and the
violent real-life events thatwould follow is unsettlingly
clear.
Take the Vampire Killers, ahorror-comedy film produced by
(16:17):
her husband, roman Polanski, afilm about blood, death and
chaos, certainly an eerieprelude to the tragedy that
would later strike Tate's death,particularly at the hands of
the Manson family, seems almosttoo scripted.
It's as if Her House on CelioDrive was a movie set, with each
member of the Manson familyplaying their part like actors
(16:39):
in a twisted production that noone asked for.
What if this wasn't just randomviolence but part of a bigger
plan, a plan where their reallives and deaths were
choreographed as part of abroader ideological agenda?
Consider the timing and thethemes.
Rosemary's Baby, another filmlinked to the occult and
pregnancy, was also tied toPolanski's cinematic world, just
(17:02):
months before the murders.
The very notion that the nameRosemary would show up in
Hollywood in the Manson murdersis striking.
It's almost as if there was amaster script at play, one that
intertwined Hollywood'scinematic chaos with the
real-world violence seen atCelio Drive.
Instead of being spontaneous,as one might expect from the
(17:23):
chaotic, even insane, actions ofthe Manson family, these
murders were cold-blooded,calculated and highly scripted.
The pattern of calculatedviolence continues to surface in
unexpected places.
On the topic of names, isn't itcurious how the name Rosemary
keeps surfacing?
Let's take a moment to explorethis connection further.
We can trace it to anotherevent where Mary Jo Kopechne met
(17:46):
her untimely death, allegedlyat the hands of Ted Kennedy.
Before we dive into thescripted nature of
Chappaquiddick, consider thisTed Kennedy had an older sister,
rosemary, who was tragicallysubjected to an experimental
lobotomy that left herincapacitated for the rest of
her life.
And again, her name wasRosemary, a name that seems to
(18:07):
surface repeatedly in theHollywood phase of this script.
This is just one part of alarger unified script, one that
connects Hollywood, manson,chappaquiddick and other
chilling events yet to berevealed.
Now let's take a moment torecall the highly tragic and
shocking events ofChappaquiddick.
In the early morning hours ofJuly, the 16th 1969, someone
(18:30):
drove Ted Kennedy's blackDelmont 88 off a bridge, leading
to the untimely death of MaryJo Kopechne.
Trapped inside the car, shestruggled desperately for air
and tragically suffocated overthe next three hours clinging to
the bottom of the seat in anattempt to reach a small pocket
of air in the inverted Delmont88.
(18:51):
Kennedy, however, did notimmediately seek help.
He failed to call the policeuntil 10 am the following
morning.
His explanations to the presswere inconsistent and mercurial.
First he said he had taken theferry home.
When his car was spotted afterthe final ferry had departed,
his story shifted.
He claimed to have swum home.
He later added that he haddived down to try and save her
(19:15):
but failed.
Eventually, he said, he swamback to the Delmine 88 with a
relative and a friend, madeseveral more unsuccessful
attempts and then the three swamback to the hotel, went to bed
and never raised the alarm.
The series of fabricatedaccounts were unquestioned by
the media and the story wasnever investigated thoroughly.
But what if the focus onKennedy as the driver was itself
(19:38):
a distraction part of a largerunified script?
Could it be that the so-calledaccident was anything but the
evidence becomes even morecompelling when we examine the
timing of these events.
Joan Marie Dymond, a14-year-old girl kidnapped and
probably murdered 21 days beforethe Apollo moon launch on July
16, 1969.
(19:59):
Just 21 days after theChappaquiddick tragedy and Mary
Jo Kopechne's death, charlesManson orchestrated the Helter
Skelter murders on August 8,1969, a date eerily tied to the
Black Delmont 88.
These precise 21-day intervalsseem far too calculated to be
mere coincidence.
(20:20):
This timeline unifies the scriptinto one coherent narrative.
It's not just about individualtragedies.
It's about how they interlockinto a larger pattern of chaos
and control.
The symbolism of the moonlanding, the number 21, and the
occult significance of the datesand names all point to a
deliberately constructed story,one that has gone unsolved for
(20:43):
55 years until now.
The real-life murder mysterystretches far beyond Hollywood,
but its connections to thesilver screen, the mirrored
names of Mary and Rosemary andthe deliberate scripting of
events like Helter Skelter bringthe focus back to the power of
storytelling.
And within this story we findechoes of anti-Catholic hatred,
(21:06):
reminiscent of Jack the Ripper'stwo Marys, combined with the
chaos sown by the weatherunderground and Manson's race
war fantasies.
Turning our focus back to LosAngeles, the fires that have
swept through the city are morethan just a consequence of
nature.
These fires are the physicalmanifestation of a much darker
force, a force linked to theongoing influence of Mao's
(21:29):
Prairie Fire.
The devastating fires, alongwith the disastrous failures in
city management and leadership,are part of a broader agenda.
They're more than justincompetence.
They're the embers of a largerdestructive fire, one that has
been slowly spreading acrossCalifornia for decades.
This was not just a failure oflocal leadership.
It was the manifestation of astrategy, an ideology meant to
(21:53):
dismantle and destroy piece bypiece.
Confronting the leadershipfailures in California no new
reservoirs in over 40 years,fire hydrants running dry.
Mayor Karen Bass in Ghanaduring the crisis she cut $17.5
million from fire department,sent equipment to the Ukraine.
Gross incompetence in managingcity resources.
(22:14):
These are the failures thatlaid the groundwork for the
devastation.
But they are not just failuresof local governance.
They are part of a larger,sinister agenda, one that aims
to weaken America from theinside out.
This agenda didn't start today.
It has deep roots in therevolutionary movements of the
1960s, where figures like BillAyers, bernadine Dorn and Tom
Hayden used their influence tosow chaos and disrupt the
(22:37):
foundation of American society.
Their legacy and that of theWeather Underground still echoes
through our culture today.
Speaking of Hollywood, robertRedford's film the Company you
Keep captures this themeperfectly.
The movie portrays how formerrevolutionaries, particularly
from the Weather Underground,remain influential and can even
(22:58):
be relied upon in times ofcrisis, decades after their
initial impact.
Figures like Ayers and Dorn,co-finders of the Weather
Underground, exemplify thisenduring reach in their ability
to shape networks that continueto influence culture and
politics.
Jane Fonda, in 2017, made astrategic move from a high-risk
wildfire zone to a much saferarea.
(23:18):
Smart move, but one has towonder did she consult with her
former partner in revolution,tom Hayden, on this decision?
Did she have access to thescript of Pending Devastation of
LA by Mao's Prairie Fire, ordid she help write that script?
While Fonda's actions highlightHollywood's dual allegiances,
(23:39):
karen Bass's record raises evenmore serious questions.
As a member of the VenceremosBrigade during the height of the
Cold War, bass actively alignedherself with Fidel Castro's
regime, traveling to Cubamultiple times to pledge her
commitment to their cause.
Bass didn't just admire theseideologies, she served them.
Given her alignment withcommunist Cuba and Mao Zedong's
(24:00):
revolutionary vision, one mustask did her oath of allegiance
to these foreign powersterminate her US citizenship and
, if so, how could she latertake the oath of office as mayor
of Los Angeles, swearing touphold the very constitution she
actively undermined.
Angeleno should considerwhether it's time to exercise
their legal right to a citizen'sarrest, holding Karen Bass
(24:23):
accountable for her actions insafeguarding the city's future.
A call to action protectingAmerica from Mao's influence.
The devastating connectionbetween the LA fires and Mao's
prairie Fire demands immediateaction.
We cannot allow our nation'sresources to enrich foreign
powers like China, which ignitedMao's revolutionary blueprint
(24:44):
and empowered groups like theWeather Underground, the
Students for a DemocraticSociety and figures such as
Karen Bass, gavin Newsom andJane Fonda to fan the flames of
chaos.
Gavin Newsom and Jane Fonda tofan the flames of chaos.
This treasonous pursuit of ananti-capitalist utopia has
caused an estimated $150 billionin fire damage in California
alone and tragically claimedcountless lives.
(25:07):
It's time to extinguish theseembers and save California and
America before it's too late.
The Made in the USA RecoveryZone.
The Made in the USA RecoveryZone is more than a rebuilding
effort.
It's a bold stand againstforeign influence, especially
from China.
Hollywood, scorched by MaoZedong's prairie fire, must rise
(25:29):
again with American hands,materials and values.
This idea makes perfect sense.
100% Made in the USA is theAmerican dream.
A house built in Mexico orChina is the American nightmare.
But the recovery zone isn'tjust about construction, it's
about protection.
In the 1970s, parents told theirchildren finish your vegetables
(25:51):
, because a child is starving inChina.
Today, the irony is stark we'reshipping 3 trillion gallons of
water annually disguised as beefand pork to China, while
American children are raised onsalads deprived of the best
protein in the world.
In California alone, it takesas much as 2,500 gallons of
water to produce one pound ofbeef and 1,600 gallons for a
(26:15):
pound of pork.
These resources should stayhere, feeding our children and
strengthening our nation, notsustaining the Chinese military
or bolstering their power.
Imagine this those 2,500gallons of water used for just
one pound of beef would provide13 years of drinking water for
one person.
We must change this.
(26:36):
By cutting off exports ofwater-intensive products like
beef and pork to China, we canreclaim our sovereignty, protect
our precious resources andensure that America's children,
not foreign powers, benefit fromthe best of what our land has
to offer.
Let's build a future whereAmerican water stays in America,
fueling our own growth, healthand security, and extinguishing
(26:58):
the flames and embers of Mao'sprairie fire before they burn
anything else to the ground.
Restoring Hollywood to reflectAmerica, not foreign entities,
is another chance to reclaim ourcultural pride.
A reborn Hollywood can inspirethe world with stories of
creativity, independence andresilience, reflecting the
values we hold dear.
(27:20):
Investing in thistransformation with
American-made resources willrestore faith in a promise.
When we build together, wethrive together.
Let's rebuild thesefire-scarred lands as true
symbols of what it means to beMade in the USA.
Thank you for listening.
Before we wrap up, I've got aquick message about retiring
campaign debt and keeping thefight alive.
(27:40):
In 2024, I ran to take onElizabeth Warren and defeat
liberalism at its core in Boston, harvard and Cambridge.
This campaign wasn't just aboutan election.
It was about standing for truth, protecting our values and
putting America first to securea stronger future.
But campaigns come at a costand I'm reaching out to those
(28:01):
who believe in this mission.
Your support can help retirecampaign debt and keep the fight
alive.
Whether it's $10, $25 orwhatever you can contribute,
every dollar counts.
Visit BobForMA.
com to donate securely or send acheck payable to Robert
Antonellis for US Senate.
To Robert Antonellis, 165Middlesex Avenue, number 1132,
(28:26):
somerville, mass, 02145.
Every contribution strengthensour ability to fight for
America's future.
Join me next time for episodefour, the Scripted War on Mary,
where we unravel the chillingconnections between the War on
Mary Jack the Ripper, the BlackDahlia and a history of
anti-Catholic and anti-Christianattacks, from historical
(28:47):
patterns to Hollywood's darkinfluence.
We'll expose the script thatcontinues to echo through time.
You won't want to miss it.
This is PSYOP Wars Decoding theDeep State.
I'm Robert Antonellis and, asalways, may God bless America.
Thank you.
Hi and welcome to PSYOPWARS - D ecoding
the Deep State.
I'm Robert Antonellis, and thisis Episode 3, Mao's Prairie
Fire Torches Hollywood.
Prepare to be shocked by whatyou're about to hear.
This episode is going to movefast.
I've got so much to share, toomuch to leave out, and every
piece of it matters.
So buckle up, because we'rediving straight in.
(00:40):
Today we'll uncover how MaoZedong's revolutionary
strategies ignited culturalchaos in Hollywood, shaping not
just the movies we watch but thevery fabric of our society.
From ideological fires toshadowy arsonists.
Let's decode the deep state'sfingerprints on America's
cultural epicenter.
What you're about to hear is astory about Hollywood's shadows,
(01:03):
not its glamour.
This is not fiction.
Hollywood, long celebrated forcrafting cultural narratives
that captivate the world, hasalso been the stage for
real-life tragedies that defyexplanation.
From the 1947 murder ofElizabeth Short, known as the
Black Dahlia, to the chillinghorrors of the Ex exorcist and
(01:23):
the gruesome killings of SharonTate and Rosemary LaBianca in
1969, these events suggest adarker, hidden script, a script
born from the madness of MaoZedong's 1939 manifesto A single
spark can start a prairie fire.
This manifesto, designed toignite revolution and spread
chaos, casts its embers farbeyond China, with sparks
(01:47):
landing even in Hollywood.
Could the flames we see today,the Palisades fires that blacken
the hills, be echoes of thismadness, consuming not just
landscapes but society itself?
Hollywood has long beencelebrated as the master
storyteller, crafting narrativesthat shape and reflect the
culture of their times, but insome cases, those stories seem
(02:08):
to mirror real-life chaos, andall too closely.
In 1939, the Wizard of Oz tolda tale of upheaval and
transformation, even as MaoZedong released A Single Spark
Can Start a Prairie Fire,calling for revolution and
destruction.
Decades later, prairie firecalling for revolution and
destruction.
Decades later, rosemary's Baby,1968, and Helter Skelter, 1969,
(02:31):
seemed to foreshadow thesocietal breakdowns.
They coincided with thechilling irony Roman Polanski,
the producer of Rosemary's Baby,was in Italy at the time of the
Tate-LaBianca murders, wherehis pregnant wife, sharon Tate,
was brutally killed, a storythat seemed ripped directly from
the sinister themes of hisfilms.
Were these just coincidences,or did Hollywood's scripts serve
(02:54):
as embers igniting the flamesof societal unrest?
The narratives of upheaval,division and fear they wove may
not have been entirely fictional.
Instead, they may have beenpart of a larger cultural script
, one that subtly, and perhapsintentionally, mirrored the
chaos taking root across theworld, events that at first
seemed like mere mismanagement,failures of governance or
(03:17):
environmental oversight mayinstead be pieces of a much
darker script, a script designednot to fix problems but to
create chaos, dependency andcontrol.
Nowhere is this more evidentthan in the way California
handles its most preciousresource water.
California's water policiesexemplify what appears to be
(03:37):
mismanagement disguised asenvironmentalism.
Billions of gallons of freshwater were dumped into the
Pacific to save the delta smelt,an invasive species not even
native to California, deprivingfarmers and draining reservoirs
essential for wildfireprevention.
Meanwhile, offshore wind farms,pushed by Green New Deal
(03:58):
advocates, have caused alarmingwhale deaths along the Pacific
coast, prioritizing foreignprofits over genuine
conservation.
In this episode, you'll see howwhat appears to be negligence
in fire prevention and watermanagement may not be mere
incompetence.
Could it instead be Mao'smismanagement, a deliberate veil
(04:19):
concealing a calculatedstrategy rooted in chaos and
dependency?
The patterns are disturbinglyaligned with the destabilizing
tactics outlined in Mao'sPrairie Fire Manifesto, hinting
at an agenda far more sinisterthan it seems.
But how did Mao's revolutionaryblueprint infiltrate American
soil, gaining traction andinfluence over decades?
(04:40):
The answer lies in a network ofdomestic actors who embraced
his ideology and began scriptingtheir own chaos.
The Weather Underground andStudents for a Democratic
Society were more than justradical student organizations.
They were conduits for Maoistideology in America Emerging in
the 1960s.
(05:01):
The SDS initially sought totackle civil rights and anti-war
causes, but it soon fractured,giving birth to the Weather
Underground, which embracedviolent revolution.
Drawing inspiration from Mao'sPrairie Fire Manifesto, the
Weather Underground co-founders,bill Ayers and Bernadine Dorn,
published their own incendiarytext, prairie Fire the politics
(05:23):
of revolutionaryanti-imperialism.
Their intent was clear ignitechaos, dismantle the
establishment and destabilizesociety, all under the guise of
resistance.
Their claim of terror includedbombings of police stations,
courthouses and governmentbuildings, accompanied by
slogans like off Pigs.
These weren't just isolatedacts of rebellion.
(05:45):
They were the first sparks of adomestic prairie fire designed
to erode public trust, instillfear and create impoverishment.
The group did not dissolve, aslaw enforcement likes to claim.
It just went deeper underground, as their name suggests.
Today, movements like BLM andAntifa echo the same disdain for
(06:06):
law enforcement, fiery rhetoricand tactics of destruction.
These modern manifestationscontinue the legacy of the
Weather Underground's Maoistplaybook, suggesting that the
revolutionary spark lit in the1960s was never fully
extinguished.
It simply adapted, waiting forthe next opportunity to spread.
(06:27):
Jane Fonda's radical legacybeing a cinematic princess as
close as one could get wasn'tjust about her roles in
Barbarella and Clute, the latterearning her an Academy Award,
that cemented her place in thepublic eye.
It was her off-screen activismthat captured global attention
and sparked intense controversy.
Fonda's connection toradicalism was solidified
(06:49):
through her marriage to TomHayden, co-founder of the
Students for a DemocraticSociety, sds, and a leading
figure in the infamous Chicago 7trial.
Following the violence at the1968 Democratic National
Convention, the SDS, underHayden's leadership, began as a
student activist group butmorphed into a launchpad for the
(07:11):
far more militant WeatherUnderground.
The name Students for aDemocratic Society itself is a
subtle attack on America, usingthe word democratic as a
deliberate misdirection toconfuse and undermine the
concept of America as aconstitutional republic.
This linguistic shift was partof a broader campaign to dumb
(07:31):
down America, eroding its corevalues and institutions.
The Weather Underground, birthedfrom SDS, didn't merely oppose
American policies.
They sought to dismantle thenation entirely, embracing
Maoist tactics to wage their war.
Fonda's alignment with theseideologies was far more than
(07:52):
symbolic.
Her infamous photo in NorthVietnam smiling in a North
Vietnamese anti-aircraft gunused to shoot down American
pilots, stands as a hauntingimage of her allegiance to
America's enemies.
Meanwhile, hayden's involvementin organizing the Venceremos
Brigade, which covertlytransported young Americans to
(08:15):
Cuba to train under communistrevolutionary leadership,
underscores how deeply connectedthese figures were to
anti-American ideologies.
While Hayden and his associatesframed these trips as gestures
of solidarity withanti-capitalism, they were in
reality collaborations withforeign enemies during the
(08:35):
height of the Cold War.
Fonda, married to Hayden for 17years, represented more than
just a Hollywood starlet turnedactivist.
She was the perfect example ofhow Hollywood was serving two
masters.
Her activism, which she framedas fighting for American ideals,
stood in stark contrast to therevolutionary ideology she
(08:56):
embraced, one that mirroredMao's vision.
Despite being the daughter ofHenry Fonda, an icon of American
values, her actions andaffiliations revealed a deeper
alignment with forces thatsought to dismantle those same
values.
The embers of Miles PrairieFire, which called for a violent
(09:16):
revolution to overthrow theestablished order, showed no
sign of waning in Hollywood,especially with the election of
Karen Bass as mayor of LosAngeles, a figure whose past
affiliations further highlightthis pattern.
As a member of the VenceremosBrigade to Cuba during the
height of the Cold War, bassopenly aligned herself with
(09:37):
Fidel Castro's revolutionaryregime, reportedly paying homage
to him as many as 14 times inthe early 1970s.
Yet one must ask did she everissue a mea culpa and swear her
allegiance back to the UnitedStates after kneeling at the
altar of Mao and Castro?
The answer appears to be no.
Instead, she demonstratedcomplete ineptitude in fire
(10:00):
preparation, even awardinggovernment workers major wage
increases while making cuts tothe city's fire department
budget.
This reckless prioritizationexposes her willingness to mask
her anti-imperialist disdainbehind a facade of incompetence,
leveraging Cuban training topursue an agenda contrary to
(10:22):
American ideals.
Before we talk about Henry Fonda, a quick word from our sponsors
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Back to Jane Fonda.
If the hatred runs this deep---If certain figures within
(11:27):
Hollywood were willing to alignthemselves with forces set on
dismantling America, how can wetrust the movies they created,
even those that seem wholesome?
Take Henry Fonda, for example.
His films like the Grapes ofWrath and Twelve Angry Men were
emblematic of a bygone era inHollywood, one that celebrated
American ideals of justice andmorality.
(11:48):
Fonda's characters representedintegrity, honor and fairness,
values that many Americans stillhold dear.
But how can we be sure thatthose same values didn't become
warped by the very forces thatlater set Hollywood ablaze with
movies like Rosemary's Baby, theExorcist and A Clockwork Orange
(12:09):
?
These films weren't justdisturbing.
They became symbols of thechaos and breakdown that would
soon echo through Americanculture, turning the silver
screen into a battleground forrevolutionary ideas and a call
for societal upheaval.
In December 1969, bernadine Dorn, co-founder of the Weather
(12:30):
Underground, addressed anaudience in Flint, michigan,
where she boldly claimed theweathermen love Charles Manson.
This chilling statement exposedthe deep admiration the Weather
Underground had for Manson'sviolent methods, methods that
sought to ignite a race war inAmerica.
By praising Manson, dorn andthe Weather Underground signaled
their willingness to adoptsimilar strategies of terror and
(12:53):
upheaval to achieve theirrevolutionary goals.
Manson's twisted plan totrigger chaos through murder and
violence paralleled the WeatherUnderground's own desire to
destabilize American society,revealing a disturbing alignment
of purpose and methods.
When Dorn expressed admirationfor Manson, it raises an
intriguing question Did JaneFonda, the darling of Hollywood
(13:17):
known for her activism andcontroversial associations,
share any alignment withManson's vision of societal
upheaval?
Did she know any of the victimskilled that night?
And did Fonda ever expressremorse or reflect on the
horrifying violence that tookplace?
Manson's so-called inspirationfor Helter Skelter was taken
from the White Album by theBeatles, a work that, on the
(13:40):
surface, was not supposed toevoke violence.
But was this more Hollywoodscripting?
Consider the chilling detailsthat LaBianca, the last name of
the murdered couple, is Italianfor the whites, Were these
murders so heavily scripted thatthe preparation work was hidden
behind a wall of lunacy?
Where does ideology end andhumanity begin?
(14:02):
In the case of Sharon Tate,there are eerie connections to
violence and death that seem tocross into the realm of the
absurd.
In addition to her tragic deathat the hands of the Mansons
family, there's the strangeirony of the role she played in
the Vampire Killers, a 1967horror comedy film Directed by
Roman Polanski.
The film was a mix of blood andhumor, with Tate's character
(14:25):
drawn into the chaotic andcomedic vampire hunting antics.
It's unsettling to think thatTate, on the cusp of her career,
would play a role tied tovampires and killers, terms that
just two years later wouldtragically mirror her own fate
In the Vampire Killers.
The bloodshed is laced withhumor, but it's impossible to
(14:46):
look back without acknowledgingthe horrific real-life violence
that followed.
The irony doesn't end there.
On the night of theTate-LaBianca murders, the
brutality of the killings wasincomprehensible.
Sharon Tate, pregnant with herson, was stabbed multiple times,
and the murders wereaccompanied by messages written
in the blood of the victimsHelter-skelter and death to the
(15:09):
pigs, phrases that seemed rippedfrom the headlines of the
Manson family's warped manifesto.
The violence was horrific, butthere is a certain twisted irony
in the fact that the termhelter-skelter was also taken
from a Beatles song, one thatshould have been far removed
from any notion of violence.
Then, just one night later, atthe home of Mr and Mrs Leon
(15:33):
Labianca, the bloodshedcontinued.
What was even more chilling wasthe name of the victim's wife.
Rosemary Labianca seemed eerilyconnected to the earlier
Hollywood horror Rosemary's Baby, and with this connection it
all started to feel like part ofsome unified script, one that
intertwined the violence ofHollywood with the bloodshed
(15:54):
seen in the headlines.
In the case of Sharon Tate,there's a chilling sense that
her life, like the lives of theManson family members involved,
wasn't just playing out in realtime but instead was unfolding
as if scripted.
The connection between themovies Tate starred in and the
violent real-life events thatwould follow is unsettlingly
clear.
Take the Vampire Killers, ahorror-comedy film produced by
(16:17):
her husband, roman Polanski, afilm about blood, death and
chaos, certainly an eerieprelude to the tragedy that
would later strike Tate's death,particularly at the hands of
the Manson family, seems almosttoo scripted.
It's as if Her House on CelioDrive was a movie set, with each
member of the Manson familyplaying their part like actors
(16:39):
in a twisted production that noone asked for.
What if this wasn't just randomviolence but part of a bigger
plan, a plan where their reallives and deaths were
choreographed as part of abroader ideological agenda?
Consider the timing and thethemes.
Rosemary's Baby, another filmlinked to the occult and
pregnancy, was also tied toPolanski's cinematic world, just
(17:02):
months before the murders.
The very notion that the nameRosemary would show up in
Hollywood in the Manson murdersis striking.
It's almost as if there was amaster script at play, one that
intertwined Hollywood'scinematic chaos with the
real-world violence seen atCelio Drive.
Instead of being spontaneous,as one might expect from the
(17:23):
chaotic, even insane, actions ofthe Manson family, these
murders were cold-blooded,calculated and highly scripted.
The pattern of calculatedviolence continues to surface in
unexpected places.
On the topic of names, isn't itcurious how the name Rosemary
keeps surfacing?
Let's take a moment to explorethis connection further.
We can trace it to anotherevent where Mary Jo Kopechne met
(17:46):
her untimely death, allegedlyat the hands of Ted Kennedy.
Before we dive into thescripted nature of
Chappaquiddick, consider thisTed Kennedy had an older sister,
rosemary, who was tragicallysubjected to an experimental
lobotomy that left herincapacitated for the rest of
her life.
And again, her name wasRosemary, a name that seems to
(18:07):
surface repeatedly in theHollywood phase of this script.
This is just one part of alarger unified script, one that
connects Hollywood, manson,chappaquiddick and other
chilling events yet to berevealed.
Now let's take a moment torecall the highly tragic and
shocking events ofChappaquiddick.
In the early morning hours ofJuly, the 16th 1969, someone
(18:30):
drove Ted Kennedy's blackDelmont 88 off a bridge, leading
to the untimely death of MaryJo Kopechne.
Trapped inside the car, shestruggled desperately for air
and tragically suffocated overthe next three hours clinging to
the bottom of the seat in anattempt to reach a small pocket
of air in the inverted Delmont88.
(18:51):
Kennedy, however, did notimmediately seek help.
He failed to call the policeuntil 10 am the following
morning.
His explanations to the presswere inconsistent and mercurial.
First he said he had taken theferry home.
When his car was spotted afterthe final ferry had departed,
his story shifted.
He claimed to have swum home.
He later added that he haddived down to try and save her
(19:15):
but failed.
Eventually, he said, he swamback to the Delmine 88 with a
relative and a friend, madeseveral more unsuccessful
attempts and then the three swamback to the hotel, went to bed
and never raised the alarm.
The series of fabricatedaccounts were unquestioned by
the media and the story wasnever investigated thoroughly.
But what if the focus onKennedy as the driver was itself
(19:38):
a distraction part of a largerunified script?
Could it be that the so-calledaccident was anything but the
evidence becomes even morecompelling when we examine the
timing of these events.
Joan Marie Dymond, a14-year-old girl kidnapped and
probably murdered 21 days beforethe Apollo moon launch on July
16, 1969.
(19:59):
Just 21 days after theChappaquiddick tragedy and Mary
Jo Kopechne's death, charlesManson orchestrated the Helter
Skelter murders on August 8,1969, a date eerily tied to the
Black Delmont 88.
These precise 21-day intervalsseem far too calculated to be
mere coincidence.
(20:20):
This timeline unifies the scriptinto one coherent narrative.
It's not just about individualtragedies.
It's about how they interlockinto a larger pattern of chaos
and control.
The symbolism of the moonlanding, the number 21, and the
occult significance of the datesand names all point to a
deliberately constructed story,one that has gone unsolved for
(20:43):
55 years until now.
The real-life murder mysterystretches far beyond Hollywood,
but its connections to thesilver screen, the mirrored
names of Mary and Rosemary andthe deliberate scripting of
events like Helter Skelter bringthe focus back to the power of
storytelling.
And within this story we findechoes of anti-Catholic hatred,
(21:06):
reminiscent of Jack the Ripper'stwo Marys, combined with the
chaos sown by the weatherunderground and Manson's race
war fantasies.
Turning our focus back to LosAngeles, the fires that have
swept through the city are morethan just a consequence of
nature.
These fires are the physicalmanifestation of a much darker
force, a force linked to theongoing influence of Mao's
(21:29):
Prairie Fire.
The devastating fires, alongwith the disastrous failures in
city management and leadership,are part of a broader agenda.
They're more than justincompetence.
They're the embers of a largerdestructive fire, one that has
been slowly spreading acrossCalifornia for decades.
This was not just a failure oflocal leadership.
It was the manifestation of astrategy, an ideology meant to
(21:53):
dismantle and destroy piece bypiece.
Confronting the leadershipfailures in California no new
reservoirs in over 40 years,fire hydrants running dry.
Mayor Karen Bass in Ghanaduring the crisis she cut $17.5
million from fire department,sent equipment to the Ukraine.
Gross incompetence in managingcity resources.
(22:14):
These are the failures thatlaid the groundwork for the
devastation.
But they are not just failuresof local governance.
They are part of a larger,sinister agenda, one that aims
to weaken America from theinside out.
This agenda didn't start today.
It has deep roots in therevolutionary movements of the
1960s, where figures like BillAyers, bernadine Dorn and Tom
Hayden used their influence tosow chaos and disrupt the
(22:37):
foundation of American society.
Their legacy and that of theWeather Underground still echoes
through our culture today.
Speaking of Hollywood, robertRedford's film the Company you
Keep captures this themeperfectly.
The movie portrays how formerrevolutionaries, particularly
from the Weather Underground,remain influential and can even
(22:58):
be relied upon in times ofcrisis, decades after their
initial impact.
Figures like Ayers and Dorn,co-finders of the Weather
Underground, exemplify thisenduring reach in their ability
to shape networks that continueto influence culture and
politics.
Jane Fonda, in 2017, made astrategic move from a high-risk
wildfire zone to a much saferarea.
(23:18):
Smart move, but one has towonder did she consult with her
former partner in revolution,tom Hayden, on this decision?
Did she have access to thescript of Pending Devastation of
LA by Mao's Prairie Fire, ordid she help write that script?
While Fonda's actions highlightHollywood's dual allegiances,
(23:39):
karen Bass's record raises evenmore serious questions.
As a member of the VenceremosBrigade during the height of the
Cold War, bass actively alignedherself with Fidel Castro's
regime, traveling to Cubamultiple times to pledge her
commitment to their cause.
Bass didn't just admire theseideologies, she served them.
Given her alignment withcommunist Cuba and Mao Zedong's
(24:00):
revolutionary vision, one mustask did her oath of allegiance
to these foreign powersterminate her US citizenship and
, if so, how could she latertake the oath of office as mayor
of Los Angeles, swearing touphold the very constitution she
actively undermined.
Angeleno should considerwhether it's time to exercise
their legal right to a citizen'sarrest, holding Karen Bass
(24:23):
accountable for her actions insafeguarding the city's future.
A call to action protectingAmerica from Mao's influence.
The devastating connectionbetween the LA fires and Mao's
prairie Fire demands immediateaction.
We cannot allow our nation'sresources to enrich foreign
powers like China, which ignitedMao's revolutionary blueprint
(24:44):
and empowered groups like theWeather Underground, the
Students for a DemocraticSociety and figures such as
Karen Bass, gavin Newsom andJane Fonda to fan the flames of
chaos.
Gavin Newsom and Jane Fonda tofan the flames of chaos.
This treasonous pursuit of ananti-capitalist utopia has
caused an estimated $150 billionin fire damage in California
alone and tragically claimedcountless lives.
(25:07):
It's time to extinguish theseembers and save California and
America before it's too late.
The Made in the USA RecoveryZone.
The Made in the USA RecoveryZone is more than a rebuilding
effort.
It's a bold stand againstforeign influence, especially
from China.
Hollywood, scorched by MaoZedong's prairie fire, must rise
(25:29):
again with American hands,materials and values.
This idea makes perfect sense.
100% Made in the USA is theAmerican dream.
A house built in Mexico orChina is the American nightmare.
But the recovery zone isn'tjust about construction, it's
about protection.
In the 1970s, parents told theirchildren finish your vegetables
(25:51):
, because a child is starving inChina.
Today, the irony is stark we'reshipping 3 trillion gallons of
water annually disguised as beefand pork to China, while
American children are raised onsalads deprived of the best
protein in the world.
In California alone, it takesas much as 2,500 gallons of
water to produce one pound ofbeef and 1,600 gallons for a
(26:15):
pound of pork.
These resources should stayhere, feeding our children and
strengthening our nation, notsustaining the Chinese military
or bolstering their power.
Imagine this those 2,500gallons of water used for just
one pound of beef would provide13 years of drinking water for
one person.
We must change this.
(26:36):
By cutting off exports ofwater-intensive products like
beef and pork to China, we canreclaim our sovereignty, protect
our precious resources andensure that America's children,
not foreign powers, benefit fromthe best of what our land has
to offer.
Let's build a future whereAmerican water stays in America,
fueling our own growth, healthand security, and extinguishing
(26:58):
the flames and embers of Mao'sprairie fire before they burn
anything else to the ground.
Restoring Hollywood to reflectAmerica, not foreign entities,
is another chance to reclaim ourcultural pride.
A reborn Hollywood can inspirethe world with stories of
creativity, independence andresilience, reflecting the
values we hold dear.
(27:20):
Investing in thistransformation with
American-made resources willrestore faith in a promise.
When we build together, wethrive together.
Let's rebuild thesefire-scarred lands as true
symbols of what it means to beMade in the USA.
Thank you for listening.
Before we wrap up, I've got aquick message about retiring
campaign debt and keeping thefight alive.
(27:40):
In 2024, I ran to take onElizabeth Warren and defeat
liberalism at its core in Boston, harvard and Cambridge.
This campaign wasn't just aboutan election.
It was about standing for truth, protecting our values and
putting America first to securea stronger future.
But campaigns come at a costand I'm reaching out to those
(28:01):
who believe in this mission.
Your support can help retirecampaign debt and keep the fight
alive.
Whether it's $10, $25 orwhatever you can contribute,
every dollar counts.
Visit BobForMA.
com to donate securely or send acheck payable to Robert
Antonellis for US Senate.
To Robert Antonellis, 165Middlesex Avenue, number 1132,
(28:26):
somerville, mass, 02145.
Every contribution strengthensour ability to fight for
America's future.
Join me next time for episodefour, the Scripted War on Mary,
where we unravel the chillingconnections between the War on
Mary Jack the Ripper, the BlackDahlia and a history of
anti-Catholic and anti-Christianattacks, from historical
(28:47):
patterns to Hollywood's darkinfluence.
We'll expose the script thatcontinues to echo through time.
You won't want to miss it.
This is PSYOP Wars Decoding theDeep State.
I'm Robert Antonellis and, asalways, may God bless America.
Thank you.
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