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Jan. 21, 2026 - Lionel Nation
24:04
CANDACE OWENS: The CIA Controls Everything
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Time Text
Selective Access Policies 00:11:21
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For those, dare I say, conspiracy tyros, for lack of a better word, for those who are kind of new to this whole world, you might ask yourself, what is all this talk about the CIA?
Do they really involve themselves with talk shows and podcasting?
And would they be involved in all of this connection as to gate schools and recruiting and grooming?
Is this that conspiracy tinfoil stuff going a little nuts?
You don't even know the half of it.
You see, this is important for you to grasp.
If you want to have a single coherent history narrative of the role of CIA and Intel, think Intel.
Don't think CIA per se.
Just think Intel.
Intel, there's about 17 separate official organizations in our government, but there's branches and they work and they merge with organized crime and entertainment and the music business.
We'll get into that.
But let me start off with the basic premise of something here.
A little bit of history.
They don't need to kick down your door to influence culture.
They only need access to the rooms where the scripts are reviewed, where funding is provided and approved for movies and the like.
And where institutional credibility is granted.
You want to affect Hollywood, music, college, theater, Broadway, magazines, mockingbirds through news.
You want to affect everything.
You want to control everything.
If you think CIA, and I'll just call it Intel.
Oh, we'll do a CIA for short, but you know what I mean.
It's other agencies as well.
If you think this is some guy listening with his glass against the wall or sending in some spy, it's a part of it, but you don't need to do it.
For most people, propaganda still means posters and slogans and big brothers watching you and obvious governmental messaging.
That's the surface level.
That's the obvious.
The deeper system works through tone and framing and prestige and repetition and selective access.
See, it decides which characters are competent, which are good, which institutions appear heroic, and which ideas are normalized, and which become taboo.
See, this approach didn't begin recently.
It's existed for decades, and it began as a formal strategy during the Cold War.
After World War II, the United States faced a global ideological competition with the Soviet Union.
I think you've heard about that.
And military power alone wasn't enough.
See, American policymakers concluded that cultural influence was essential.
And this led to the creation of programs specifically designed to shape international opinion through art and publishing and media.
And one of the earliest examples was the CIA's involvement in funding cultural organizations, organizations connected to the Congress for Cultural Freedom, which sponsored magazines and exhibitions and artistic events across Europe.
These programs promoted modern American art, particularly abstract expressionism as a symbol of freedom and individual expression in contrast to Soviet realism.
And this effort is documented in multiple historical studies, multiple declassified materials.
The objective wasn't simply artistic promotion.
It was ideological positioning.
There is mainstream media scholarship on CIA-backed cultural initiatives, including the Congress for Cultural Freedom and cultural propaganda efforts.
Francis Stoner Sanders's, or Saunders' work rather, is central and seminal to that history.
And the CIA's own Studies and Intelligence Review acknowledges the topic as serious public literature.
This isn't hidden.
From visual art, the strategy expanded outward.
Cultural exchanges, orchestral tours, literary journals, and publishing networks were quietly supported to shape elite opinion abroad.
Eventually, the same logic moved into film and television.
Hollywood represented unmatched global reach.
A single movie could reach more people than years of diplomatic messaging.
And that, of course, made entertainment an attractive vehicle for influence, control, and the dissemination of new ideas.
And also to show how we live.
This is the way, this is America.
Look how great we are, cool we are.
Come on.
One of the earliest documented examples of direct CIA involvement in film was the 1954 animated adaptation of George Orwell's Animal Farm.
This is well supported by multiple accounts, including History.com, The Guardian's own reporting, plus animation industry histories.
Historical reporting shows that the CIA covertly acquired the rights to the book through intermediaries and financed the production.
The ending, of course, was altered a little bit to deliver a stronger anti-Soviet message.
And this project demonstrated both the power and the limitations of full production control.
Funding entire films was expensive and left administrative trails.
It also attracted scrutiny.
And after this period, the strategy evolved and it changed and it shifted.
Rather than financing entire productions, intelligence agencies increasingly focused on shaping content indirectly.
This meant influencing scripts, offering technical consultation, and quietly advising filmmakers on how intelligence operations should be portrayed.
And this approach, this is good, this approach allowed greater deniability while still shaping narrative outcomes.
At the same time, the Department of Defense developed its own formal entertainment liaison system.
The Pentagon operates an official entertainment media office.
And that office reviews requests from film and television production, seeking access to military equipment and personnel and military bases and locations and the like.
And this, this turned out to be terrific because this includes also aircraft and naval vessels and bases and active duty support.
I mean, this is real.
This is documented.
I'm not just making this up.
And the DOD has formal policy and an entertainment media apparatus that coordinates support and ultimately approves requests for use of DOD resources for entertainment productions.
Think about this, how brilliant this is.
Access, of course, is discretionary.
And productions will submit scripts for review.
And if the Department of Defense determines that a particular project benefits public understanding of something or portrays the military in a favorable light, well, cooperation may be granted.
If not, however, well, access is denied.
And that gets real expensive.
See, this system is openly acknowledged in Department of Defense policy.
And it isn't secret.
It creates a practical incentive structure.
It's very simple.
Productions that want realism and large-scale military assets often adjust scripts to meet approval standards.
Top gun, USA?
Top gun, USA, top gun, green berets.
We'll talk about that in a moment.
See, the CIA operates differently.
They're a little bit different.
Unlike the Pentagon, it doesn't control fleets of visible hardware that filmmakers need for a spectacle.
It doesn't have that.
But its influence tends to operate through consultation and relationship building and selective access to information.
Academic research, including work by scholars, many scholars who have studied CIA-Hollywood relations, document that the agency, the agency has maintained outreach programs with the entertainment world and industry, particularly beginning in the 1990s.
See, these programs were designed to improve public understanding of intelligence work, to encourage accurate portrayals, make it kind of cool, and improve recruitment appeal.
Cultural Legitimacy and Entertainment Liaison 00:11:55
One prominent figure associated with this period was Chase Brandon.
Sounds like either a porn star or a bank.
He was a former CIA officer who served as, get this, an entertainment liaison.
Brandon publicly acknowledged advising filmmakers and providing consultation on intelligence-themed projects.
His role marked a shift toward kind of formalized engagement with Hollywood rather than purely informal relationships.
Tricia Jenkins' book and related academic reviews cover this and describe this liaison activity and outreach.
Now, this renewed and invigorated outreach coincided with a period of institutional vulnerability.
See, the Cold War had entered.
Public justification for large intelligence budgets was weaker.
Remember later on, the church committee and assassins and Castro and JFK.
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Then came September 11th, 9-11.
The attacks.
The attacks that change everything.
Intelligence agencies faced intense criticism.
Criticism, well-directed, for failing to prevent the attacks.
We'll talk about that later.
Congressional investigations, public outrage, and media scrutiny, of course, followed.
Now, in this environment, reputation management became a priority.
Following 9-11, there was a dramatic increase in intelligence-themed entertainment.
Television series, such as 24, Alias, and Homeland represented intelligence officers as deeply flawed, but ultimately necessary and devoted to keeping us safe.
Necessary guardians operating in morally complex environments.
See, major films emphasized urgency and heroism and technological sophistication.
And these narratives, these narratives often frame extraordinary surveillance powers and aggressive tactics as unfortunate niceties and necessities required to prevent catastrophe.
You understand?
Different times, different tactics.
Now, while entertainment creators made their own artistic choices, the broader pattern aligned with institutional messaging priorities.
Now, interestingly enough, influence also expanded beyond scripted drama.
In 2011, remember this CIA director, Leon Panetta.
By the way, Leon Panetta, his greatest movement was when he was in the situation room when they supposedly dispatched bin Laden and they were sitting there.
Remember that Hillary was smelling her hand?
Leon Panetta says, Yeah, the helmet cams were gone.
The screen was black.
We weren't watching anything.
He spilled the mains.
So that was all performative, all kabuki theater.
But anyway, in 2011, CIA director Leon Panetta appeared on the TV program Top Chef during an episode filmed at CIA headquarters in Langley, Virginia.
This wasn't fictional dramatization.
It was a real appearance by the sitting CIA director in a popular entertainment format to show that, I don't know, the human side, the cool side.
And the stated purpose was public outreach.
The effect was normalization.
See, when intelligence leadership appears in lifestyle entertainment, it signals a kind of a cultural legitimacy and a familiarity rather than secrecy and controversy.
We're the good guys.
We're your neighbors.
We're your neighbors.
Now, this strategy reflects a broader trend in public relations.
Institutions increasingly seek to embed themselves within popular culture rather than communicate solely through formal press channels.
It makes sense.
Remember what I'm telling you.
There were some influencers who were suspected of, well, perhaps maybe lending or leasing or renting or time-sharing their platforms with various agencies.
Moby mentioned it, I think, in 2016.
Others mentioned it as well.
Entertainment carries emotional impact that traditional communication simply can't replicate.
And at the same time, the information environment changed dramatically with the rise of digital platforms.
Oh, yes.
Online encyclopedias and reference sites became central sources of public knowledge that can be changed and altered and removed and ablated and tweaked.
There have been documented cases, documented, repeated, showing that government networks, including Intel-related IP ranges, have edited public reference pages in the past.
Now, while this doesn't prove institutional control of platforms such as Wikipedia, it does demonstrate active participation by government-connected networks in, of course, shaping publicly visible information.
And some researchers and journalists have raised concerns about narrative locking and editorial gatekeeping and selective enforcement of content policies.
These concerns remain debated and unresolved, but they illustrate how information management has shifted from broadcast media to digital infrastructure like that.
And the influence systems ecosystem, they now span entertainment, journalism, education, sports, flyover, bread and circuses, reference platforms.
Movies reinforce television narratives.
Television narratives reinforce news framing.
And news framing reinforces academic discourse.
Academic discourse reinforces reference material.
And over time, this creates a reinforcing loop where certain interpretations become dominant and alternatives struggle to kind of gain visibility.
Some observers have argued that this influence has increasingly shifted inward.
Maybe.
During the Cold War, the primary target was foreign audiences.
Today, much, if not all, of the messaging infrastructure is directed at domestic populations, at us.
Cultural polarization, political distrust, and institutional legitimacy are now internal concerns.
Intel and security narratives increasingly focus on domestic threats, misinformation, extremism, and internal stability.
Entertainment often mirrors these themes.
It's important to distinguish between documented history and areas of suspicion.
There is incredible evidence.
History is replete with Cold War cultural programs, Pentagon script review policies, CIA consultation relationships, and public outreach efforts such as, of course, Panetta's appearance.
Now, there is evidence, of course, regarding claims of direct script deletion by embedded operatives at specific studios in the 1950s.
Specific, I mean, writing there and saying, nope.
Some sources have suggested cooperation and reporting relationships existed between studio executives and Intel contracts.
Nobody knows, you know, how much.
But there is credible scholarship about how Paramount executive Luigi Luraski reporting to a CIA contact and sharing information happened on a regular basis.
It all supports a kind of a relationship between Paramount and the CIA.
There are many, many aspects of this going on.
But I want you to understand this, and this is critical.
I hope that I was able to at least provide at least something of an indication to show that the CIA is everywhere.
Go back and look.
During World War II, Frank Capra, the studio heads, many of these, many of these studio heads were Eastern European Jews who were themselves involved in pogroms and who came to this country seeking freedom, whose lives were saved by this great country.
And they did everything in their power to act specifically in any way possible to shape the narrative.
During World War II, people like Vito Gerovesi, who was responsible for working with, acting as almost like Intel adjuncts in Sicily.
These were very patriotic people, loved this country, and wanted to crush Mussolini, as did organized crime with Castro.
So Johnny Roselli, who worked the mob liaison with Las Vegas and Entertainment, worked as an interface with Intel and military, and you had strange bedfellows.
And one of the things they did for the longest time was the idea of picking people and promoting people.
Again, people within the family system.
Who are we looking for?
They're always building a bench.
Barack Obama kind of came out of nowhere.
People said, you're going to be good.
They're always scouting.
Always, always, always scouting.
Remember one thing too, which is important, especially when you read these things.
During Democratic regimes, the enemy is always internal.
Republican regimes, the enemy is always external.
Foreigners, foreign terrorists.
Democrats believe that the enemy is from within.
Liberatists, people who believe in the Constitution, T Bag Party, Top Tea Bag, Tea Party members.
Turning point USA.
CPAC.
That scares them.
So understand that.
Think of this as a wonderful immune system in your body, just like you have biota, you have good gut health, and you have bad gut health, and you have varieties of this, and you have this wonderful balance, this homeostasis.
Intel do not think about the spy breaking into offices and stealing.
Maybe.
But it controls and steals our opinion.
Thank You for Your Focus! 00:01:16
So what Candace Owens talks to you about, gate programs and the like and CIA and who's who and November Renaissance, this is exactly what I just told you about.
This is as old as you can imagine.
It's critical thinking to understand that.
Critical.
So thank you, my friends.
Let me also tell you, in addition to a war on for our souls and our hearts and our liberty, there's a war on our children.
And what they are doing is still an abomination.
Please follow my wife at Lynn's Warriors on YouTube.
You can't believe what is happening.
You cannot believe that.
Everything that we're seeing right now pales by comparison to that.
So thank you for this.
Thank you for your great comments.
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This is fascinating stuff because it's real.
So my friends, I thank you so much for watching.
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