Hollywood is, as David Lynch titles it, an “inland empire” – a kind of covenantal city-state of its own, with its own religion, including all the trappings of neophytes, acolytes, servants, agents, star saints, hierophants and hierarchs and holy sites. It is a veritable polis of initiatory esoterica where the holy sites and rites of Hollywood are not the altars of mainstream religion, but another ancient religion, ultimately summed up in the epithet of the ancient mysteries. The ancient mysteries comprise the competing religious practices of the empires of old, but the one empire that seems to have achieved the most appropriate association with Hollywood is Babylon – the “gate of the gods”.
Babylon was the ancient pagan empire prominent in biblical prophetic works as an enemy of God’s people due to their idolatry. Hollywood is no different, functioning as the propaganda arm of the antichrist media establishment, intent on re-engineering society into its alchemical opposite, unleashing the destructive forces of cultural Marxism and death. This is why stories and narratives continue to emerge of Hollywood scandals, sex and murder rituals and occult crime, with no puzzle pieces ever put together from mindless denizens of talking head puppetdom. From the dozens of in-depth analyses on my site looking into the esoteric meanings in Hollywood films, it logically follows that this classic thesis of “Hollywood Babylon” is not far off. This title is not new, either: detailed accounts are found in insider researchers like Peter Levenda, and even older than his Sinister Forces trilogy, occultist Kenneth Anger’s book and documentary, Hollywood Babylon, which (documentary) I will include below.