It just so happens, that a prominent actor examined in a recent installment, shall now figure prominently once again. There is ample evidence to adequately demonstrate, this particular actor not only portrays an iconic music legend, but he is also the host actor behind the mask of one of Hollywood’s most revered and respected movie directors.

Don’t be so shocked though, folks.

As many loyal readers have discovered by now, the major players participating in the post-modern phenomenon of the actor based reality are concentrated among a handful of families, many of whom are also genealogically related to the thirteen, ruling elite Jesuit families.

Heralded as one of Hollywood’s most esteemed film directors and producers, George Lucas certainly shall not require any extensive introduction. The devil however, as it were, is always found in the details, and in the case of the sparkling resume and biography of George Lucas, numerological and symbolic markers abound.

Turns out, the father of the actor posed to the general public as Hollywood director George Lucas, was also a movie director, producer, and a former US vice president (See: The Voice of a Misled Generation).
From American Graffiti and Star Wars, to the rousing action/adventure romps of Indiana Jones, legendary Hollywood director George Lucas is often credited with the creation of some of American popular culture’s most indelible, if not profitable cinematic classics.

But to those who stand outside of the rather small community of hardcore cinephiles, many may not be aware of Lucas’s first and perhaps most intriguing film, Electronic Labyrinth: THX-1138.

Although Lucas’s maiden film production of 1971 met with little or no commercial success, which may account for its relative obscurity, the critical accolades it received imply that the film may merit further examination and analysis.

The plot of THX-1138 involves a man trying to escape a computerized world that tracks his every movement. Though the movie may have lacked the dazzling special effects for which Lucas’s films later became noted, the movie’s theme of an all-pervasive and intrusive surveillance state has proved rather prophetic.

The question remains however: Is Lucas synonymous with the likes of the medieval seer Nostradamus, or was he made privy to the ruling elite agenda through high-level masonic initiation?

The following film clip from Lucas’s 1973 film, American Graffiti, may hold a clue:

Pay close attention to the dialogue at approximately 0:18:

“…You are successful, you join the Pharaohs with a code and a blood initiation and all that?”

According to masonic lore, “the Jesuit oath is blood-curdling and is signed by the initiate in blood.” (From the Clueless Weapon, Alisa K. Brown)

Perhaps in an ironic sense, though THX-1138 may never have eclipsed blockbuster profit margins, Lucas’s most obscure film production may also be his best, and considering its far-sighted thematic relevance, it may also exist as his most prescient contribution to the history of American cinema. Though Lucas’s later films would go on to hold a greater and perhaps more significant role in building the great canon of 20th century cinema, when delved beneath the superficial commercial gloss, one discovers their inherent occult significance. Most of the blockbusters upon which Lucas’s great reputation as an influential Hollywood auteur is based, while superficially entertaining, are also designed to introduce and condition vast audiences to occult themes, with healthy doses of social and political programming thrown in for good measure.

For example, the occult themes of Star Wars are readily apparent, if one knows what to look for. The nexus between the international intelligence octopus and Hollywood is, by now, well-known. In fact, Hollywood was created for a dual purpose. Firstly, to make a profit, and secondarily, to create a powerful vehicle that could be readily utilized to propagandize a mass audience. To paraphrase the words of Disney’s iconic character Mary Poppins: Hollywood provides the ‘sugar’ (entertainment) that makes the medicine (propaganda, whether social or political) force fed to the masses go down so tolerably.

In that sense, Hollywood was created as a powerful tool, deployed to politically, socially and psychologically destabilize American and Western society, so that it might be rebuilt in the collectivized image of the thirteen ruling elite families. The character known to the world and the American general public as George Lucas is therefore, one of Hollywood’s most renown destabilization agents.


The University of Southern California is most renowned, other than for the number of Heisman Trophies awarded to the stars of its heralded football program, for perhaps two of its most famous alumni – O.J. Simpson and George Lucas. Less well known, is that the campus of USC has historically served as a hotbed recruiting ground for candidates of the intelligence trade.

Subsequent to graduation from USC, the former celebrity personality, Simpson, went on to portray the starring role in one of the most ridiculous court room soap opera hoaxes ever televised, while the latter collegiate golden boy went on to portray one of Hollywood’s most mythical and legendary characterizations.

As most of one’s loyal readers have come to learn, the initial clues to discerning a fictional celebrity character are always most conspicuously present in the official biographies provided by mainstream sources – that is to say, official accounts composed by low level intelligence operatives trapped in their office cubicles in the basement of CIA headquarters located in Langley, Virginia.

It is claimed that Lucas was born in Modesto, California to Dorothy Elinore Lucas and George Walton Lucas. Official biographies also tell us Lucas is of German and Swiss-German descent. That latter biographical detail may represent a clue that Lucas’s host actor and his show business father – the identity of whom shall become obvious very soon – have a genealogical connection to the bloodline of Hollywood mogul Barry Diller AKA Prince Eduard von Furstenberg of the Austro-German royal Swabian House of Furstenberg.

Official biographers always have a way of subtly placing such genuine clues in among the cesspool of misinformation, disinformation and outright fabrications.

Through his formative years, it is claimed Lucas grew to have a fascination with cars and drag racing, a biographical trait which was said to have inspired the character of John Millner from Lucas’s 1973 film, American Graffiti.

At age 18 (666), on June (6/33 high-degree Scottish Rite Freemasonry) 12 (777/intelligence joker code), 1962 (27/2 7’s/twin lightning charges of Lucifer/angelic transformation), Lucas became allegedly involved in near fatal car crash which effectively caused him to lose interest in pursuing a career as a professional race car driver.

More numerological markers show up in Lucas’s official biographies when we are told that after suffering from the near fatal car crash, Lucas set his sights on attending art school and reportedly exclaimed he would become a millionaire before the age of 30 (EE=33). At this time, Lucas began shooting his own home movies with an 8mm (44/destruction code) camera. While at USC’s School of Cinematic Arts, one of the first such undergraduate programs in America, Lucas fell in with a group of like minded students devoted to the pursuit of cinematic excellence called “The Dirty Dozen” (12/21/777).

The next detail of Lucas’s biography is most pertinent, in that “The Dirty Dozen”, by way of inspiration provided by USC film school dean, Slavko Vorkapic, became primarily interested in the concept of kinetic energy and its inherent possibilities as it related to cinema.

The concept of kinetic energy goes right to the heart of occult practice and philosophy as it relates to the concept of the three occult master keys.

The three occult keys are understood to be Will, Intention, and Vital Force.

Utilized in proper conjunction, it is believed by mystics and students of the occult that one can manifest mystical progress out of the infinite realm of possibility.

Alchemists refer to these occult touchstones as Sulfur (Direction/Will), Mercury (Engine/Intention), and Salt (Fuel/Energy). These concepts have been hidden from the masses in the exoteric and dogmatic manifestation of fundamentalist teachings.

For example, in Christianity, these three keys are described as the Father, Son, and Holy Spirit.

Lucas would later use this concept of kinetic energy or “The Force” to propel the narrative of the Hollywood blockbuster Star Wars.

The expression of this idea is not only evident in the movies of George Lucas, but hidden in corporate logos, television commercials and even pop music. The album cover art of Led Zeppelin’s IV is adorned with the occult symbolism that explains this mystical process.

It could also be said, the concept of the actor based reality is also steeped in this occult philosophy, in that while properly utilizing the three occult keys in perfect concert, a host actor can manifest as any character he or she wishes while the world perceives the mystical transformation as genuine.


What is so astounding concerning the host actor of Hollywood character George Lucas, is that he has portrayed not just one, but two of the twentieth century’s most iconic figures, both in the music business, and in the Hollywood movie production industry. This could only signify that the host actor of Lucas’s character hails from a prominent genealogical family tree extending back several generations.

Although nepotism undoubtedly determined the career path of George Lucas’s host actor, it should be pointed out that his inherent talent is virtually undeniable. In The Voice of a Misled Generation, one detailed how nepotism has been virtually a tradition in Hollywood since its inception, and the career of George Lucas’s host actor has been a prime beneficiary.

Not only did his father perform as one half of the famous vaudevillian comedy team of Martin and Lewis, but also became a highly skilled movie director and producer in his own right. As in the case of other host actors examined previously, some of the most effective tricks of the trade in terms of deception have been utilized to disguise the actor’s facial geometry.

Bob Dylan:

George Lucas:

In the first image of Bob Dylan, though there is ample evidence that lens distortions have been employed, it is still possible to discern, while performing comparative analysis of the shape and diameter of the eyes, that both the Lucas and Dylan characters share the identical host actor. With the Dylan character, it is possible to observe every effort has been made to provide for him an unshaven, unkempt, and authentically bohemian image, which is in sharp contrast to the relatively well-groomed appearance of the Lucas character. There also appears to have been stippling added to Dylan’s nose.

One shall notice too, that eyewear had been utilized to distort the facial geometry in the case of the Lucas character, which in combination with hair coloring and strategic application of facial stippling around the chin, nose and mouth, further distracts the ocular perceptions of the viewer, and ultimately prevents the likelihood of the host actor’s positive identification hiding just beneath the array of disguises.

Further ear biometric and facial recognition analysis clearly demonstrate that the host actor in common between the Dylan and Lucas characters is Gary Lewis, son of the late comedian, actor, and movie director/producer, Jerry Lewis.

Gary Lewis:

Though Dylan’s performance in the following video clip may not appear, at least to some, to qualify as conclusive, empirical or even supporting evidence of the author’s premise, it could nevertheless be construed as oddly ironic.

Excerpted from a 1986 press conference in Sydney, Australia, just before the Dylan character went into self-imposed hiatus, one shall immediately notice he makes some rather curious remarks while pondering the persona of his own character from the perspective of the third person.

What is perhaps most impressive about Gary Lewis’s performance as Dylan, is that his character is so deeply self-possessed and in such total command, that even when it appears the interviewer’s attempt to cross him up with an unscripted enquiry might throw the host actor off balance, Lewis, in the guise of Dylan, is able to deflect with such great aplomb.

And yet more remarkably, despite being well-aware of the character’s public perception as one who has assumed the mantle of legendary or even iconic status, Lewis as Dylan, while still remaining firmly in character, seems readily able to observe himself from a distance and at times, he even does so with an ironic sense of detached levity.

The most amusing, and yet telling moment of the press conference arrives at approximately 4:53 of the video, when Dylan can be heard to utter the following:

“Who is Bob Dylan? I’m only Bob Dylan when I have to be Bob Dylan.”







12 thoughts on “George Lucas and his Death Star Deception

    1. The literature concerning the Jesuits is voluminous. Even more vexing is why anyone, after having been made aware of the Jesuit initiation vow, would rush to join such an atrocious order.

  1. It would make sense that Bob Dylan was also George Lucas. He not only sold his music rights to Universal, a movie studio, but he was spotted at the Kent State University shooting, incognito, posing as a photographer. I was never able to understand why, but now it makes sense. Steve Miller of the Steve Miller Band was also at Kent State incognito. Now I wonder if Kent State was another fairy tale. Perhaps you can check the biometrics on Steve Miller?

    1. Yes, you’re very astute in pointing out the fact “Dylan” (AKA George Lucas) was, in fact, spotted on campus during the aftermath of the Kent State shooting hoax. Regarding Steve Miller. indeed, a most excellent idea for a future article, and I shall certainly look into him.

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