Moonraker And The Breakaway Civilization

espionagehistoryarchive  |   A notable example of the breakaway civilization in film is the 1979 film adaptation of Ian Fleming’s Moonraker. Moonraker the film differs significantly from the Fleming’s novel, but the differences and parallels are important to highlight: the novel focuses on a kind of Operation Paperclip scenario, wherein Sir Hugo Drax is secretly building a V-2 rocket in tandem with the Nazis to destroy England and rebuild the Reich. For many, the film adaptation a few decades later represented an exceedingly outlandish interpolation on a pulp spy novel that failed to achieve much more than mimicking the box office success of science-fiction blockbusters it attempted to copy, cinematic innovations like 2001 and Star Wars.

On the contrary, more is at work here than just inserting 007 into a Star Wars laser-battle setting. The most obvious factor to recall is that 1979 is roughly the birth of the Strategic Defense Initiative (born at Bohemian Grove), where plans would be posited for a DARPA-style space-based weapons system in the vein of Skynet. Thus, concurrent with this deep- state project initiated under the auspices of the Cold War showdown with the Soviets, Tesla-esque satellite decapitation and directed-energy weapon scenarios would become the Skynet/Smartgrid Internet of Things as we see it today.

In tandem with the decades early planning, predictive programming in Hollywood blockbusters would prepare generations for the implementation of that grid – such as ARPANET (the Internet) – in the near future. Thus, Moonraker the film represents the second phase of the Operation Paperclip/NASA program that birthed the rocket and “UFO/foo fighter” aerospace technology. Taking a step back, the 1954 Fleming book Moonraker was the first stage of the same “space program” that Moonraker the film symbolically updated, and that is the deeper reason for the science-fiction trajectory of the narrative. Recall as well that by the late 1970’s, 007 was already history’s largest film franchise, so we can expect it to have been crucial in preparatory induction for the planned technocratic age. 

And so with Moonraker, the most ridiculous and silly of 007 films, all the obligatory puns and innuendos so characteristic of the Roger Moore era serve to mask a rather profound secret of the overall deep-state agenda. In the plot we discover that Hugo Drax has stolen a space shuttle through his German underlings to reverse-engineer the technology for nefarious machinations. Meanwhile, 007 is on his trail battling the laughable Jaws (Richard Kiel) in mid-air as Jaws loses his parachute, plummeting into no less than a circus tent. At first, one can brush this off as pure absurdity common to the Moore era, but comparisons to Diamonds Are Forever began to emerge, as the circus theme of Las Vegas functioned prominently there, as well. Both films run roughly parallel, describing the same themes and events – a private space program that operates under various fronts and shells, intent on cornering the market under a shadow-government technocracy (SPECTRE) intent on mass depopulation and the creation of a “new world” modelled after Noah’s Ark.

In both films our respective villains also work together with the mafia and criminal underground to achieve their designs, with the various crime groups subservient to the overriding, internationalist SPECTRE. Even though Drax is not a member of SPECTRE like Blofeld, the principles he enacts are all the same. Blofeld’s jewel heist and his casino/aerospace takeover operation perfectly mirror Drax’s technological theft and private aerospace company, with various shells and fronts funding the true programs of both “fictional” oligarchs. In fact, the Moonraker facility Drax runs resembles NASA and other deep state-facilities, yet it is not the real Drax aerospace facility.