Analysis: “The Men Who Stare at Goats”

The Men Who Stare at Goats is both a book and a movie. We saw the movie first, attracted to it by the media blurbs: “Reminiscent of the Coen Brothers at their most unhinged,” and “A wild and funny ride.” The lead actors are Jeff Bridges and George Clooney, who also appear in the Coens’ films. The movie—not by the Coens—is comedic and entertaining, especially if you (1) let yourself be seduced away from the disclosed fact that it is based on a true story, (2) allow yourself to accept the impression that it tells the whole story, and (3) see that story as a laughing matter. 

If you have seen the movie you must read the book, which is equally entertaining, and it parallels the movie until the author masterfully lures and steers his reader into deeper, dark waters where the larger truth attacks like a shark. The hard light of truth about “experimental” weapons and New Age interrogation techniques is anything but funny unless you have the kind of sense of humor that lets you laugh through the graphic scenes in Saving Private Ryan. Not surprisingly for us, the book and film were launched from the UK where the political environment for such productions is more hospitable. 

If you are not a journalistic writer or an executive at a large publishing house, it is unlikely that you know how much control the National Security Administration in the USA has over the nature and content of books and films created and released in the US—even before 9/11. Politically-incorrect books are not burned in the US as they were in Europe during the Inquisition—at least not since the 1950s, when tons of Dr. Wilhelm Reich’s books were burned by the federal government. Instead, these days they “burn” pre-published manuscripts that resist editing. To some degree, national security is a valid concern, but some censoring is just suppression that mocks Freedom of Speech. So, kudos to Jon Ronson, the London-based author and documentary filmmaker whose pragmatically creative genius has found a way to reanimate investigative journalism. 

Perhaps the majority of world citizens are still skeptical about the idea that some people have highly-developed “paranormal” skills. Even many professors of psychology are among the staunchly skeptical, although this is not so much true in universities such as Berkeley, Duke, Princeton, Stanford, and some others. PluribusOne™ can attest to the fact that fire-walking, spoon-bending, telepathic communications, telekinesis, remote-viewing, and other morally neutral “psychic phenomena” are absolutely real (although there are hoaxers too in every field of activity). 

Neither the book nor the movie asks or explains how, for example, a man can cause an animal to collapse, and even die, by staring at it. The power is not the ability to hold a steady intentional gaze for long periods. The power is the power of Will, which extends from the highest dimension of Consciousness (to use terminology expressing Noetitek™ conceptualizing). This same power allowed Moses to part the waters of the Red Sea—another event many people find unbelievable. The key to all of the “psychic” abilities discussed in the book and depicted in the movie is: willpower

Here is another information gap that PluribusOne™ can fill: The book effectively asks but never explains why subliminal messages would need to be masked by music if the frequencies are inaudible, as claimed. And how could they be aimed successfully at targeted persons? Our explanation: the frequencies need to be carried by something that the receiver’s attention will focus on. It is not about needing to “mask” anything; it is about the fact that no one will listen to a blank CD or watch an empty video screen. Those who pay attention, via the music, get the message and, most likely, dance accordingly. Wake up.

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