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‘The Spark’ Movie by Stephen Shellen – Hollywood’s #1 ‘Targeted Individual’ – is Reviewed by Art’s #1 ‘Targeted Individuals’ – Part 1

You can buy or rent ‘The Spark’ by Stephen Shellenberger here and visit his website here.

‘THE SPARK’ 2018 – FIVE STAR REVIEW – AN ESSENTIAL FILM

If contemporary film is to remain faithful to the historical duty of the avant-garde, it must embrace its obligation to tackle the issues of the day, in holding power to account, especially to stand up for the oppressed, while at once remaining thematically novel, and thus to push back the boundaries in the genre.

“A beautiful experimental film about a man’s journey down the rabbit hole. Once you watch this film you will never see the world in quite the same way.”1

‘The Spark’ Tagline
STREET GANGSTALKING – ‘MOBBING’ BY PAID THUGS – A STILL FROM ‘THE SPARK’

“What If Your Worst Fears Became Your World And No-one Believes Anything You Say?”2

‘THE SPARK’ TAGLINE


SCREEN-GRAB FROM GOOGLE-CENSORED SHELLEN FAN-BLOG

“Conspiracy theories…are fairly easy to quickly dismiss. [H]owever, [some make] you…wonder… Stephen Shellen was a hard working busy Hollywood actor [who] appeared with [the] biggest stars…[however]…he endured years of harassment leading to a blacklist…Back in 2009, I did a birthday [blogpost] on Stephen however…all of the images…were blackened out…[and] I was unable to put them back…[…despite] the images…[being] in my [Google blog’s] storage [folder]”3

‘Stephen Shellen: Orchestrated Exit?’, Favorite Hunks [Added Emphasis]

“There is oddly very little on Canadian actor Stephen Shellen on the net. …Mysteriously, even the caps I made of Stephen in ‘A River Run Through It’, that I posted last year on this [Google] blog are just red x’s.”4

‘Favorite Video of the Day Steve Shellen in Gimme An F’, Hunkstoooo

“My life parallels so much with your story [of stalking from the art market] except mine was Hollywood. Talk about being ghosted…[Reading the part of ‘The Celebrity Code’ book that describes your targeting by the art market] gives me the jitters. I mean, reading about what happened to you and feeling real empathy for you as well as outrage and then I remember, “shit Kim, it could be my story, just mine was within Hollywood and the film industry.” Absolutely shafted for 25 years and all the old friends, nobody ever gets back to me. Always the question “what the hell are people told about me?” Sometimes I forget what a shit hand I was dealt but reading your story, fuck, it hurts. So sorry brother […] It’s like getting punched in the solar plexus 25 yrs ago and NEVER getting my breath back. […]Yeah, I just get so pissed off for you had to grab some vodka[!]”5

Stephen Shellenberger in conversation with Jon Hammer

Stephen Shellenberger aka Stephen Shellen, is the award-winning Canadian ‘Renaissance Man’ :

“…an ideal that developed in Renaissance Italy from the notion expressed by one of its most-accomplished representatives, Leon Battista Alberti (1404–72), that “a man can do all things if he will.””6

‘Renaissance Man’, Britannica

…who has been an athlete, model, Hollywood actor, voice actor, writer, screenwriter, theatre-performer and patron and nightclub owner, poet, author, director, painter, and street artist.

Stephen is, as are we (the authors), what has become known as a ‘Targeted Individual’ (TI).

We are all victims of the west’s (officially-denied) zersetzung psychological warfare programme of ‘no-touch-torture’ in its ‘culture industry’ celebrity-led variant of a programme known as ‘the assassination of the human soul’ and which consists of gangstalking, harassment, overt and covert surveillance:

STASI SECRET POLICE SURVEILLANCE

…complemented with stalking, gaslighting, blacklisting, smear campaigns, street theatre, framing, set up work failures, vandalism, and mobbing.

This is carried out with the intent of driving the target to feel and appear mentally ill, thus to ultimately be unable to work, become homeless, have a nervous breakdown, or commit suicide.

Thus zersetzung is nothing less than attempted murder.

These tactics were pioneered in the late 1960s and used until the end of the ’80s under the instruction of the Soviet KGB, by the dreaded communist STASI secret police of totalitarian East Germany:

STASI SECRET-POLICE DISGUISE-MANUAL FROM THE 1970S

“After the East German popular uprising of June 1953 (suppressed by Soviet troops) the government gave the Stasi the task of systematic surveillance and prevention of unrest in the population. Initially this took the form of brutal physical repression: imprisonment and physical abuse (including torture) by police and secret police.[…]

This image has an empty alt attribute; its file name is stasi-1.jpg

[…]But this changed during the 1970s when the GDR became more interested in gaining a positive international image, and the repression of activists became more subtle. The Stasi redefined the military term Zersetzung (attrition or corrosion) to name their harassment tactics: the aim was to disrupt the working of groups and the lives of individuals to such a degree that their activism became ineffective, or more preferably, ceased altogether.”7

‘The Stasi and Zersetzung‘, Max Hertzberg

Zersetzung is now being widely and illegally inflicted in the west, including by the celebrities and bureaucracy of the ‘culture industry’, in collusion with Social Media and Big Tech, and in concert with the media and rogue elements within the legal system, and is apparently orchestrated by rogue intelligence agencies.

We, the reviewers, Jon and Jenny Hammer, author of and editor/advisor to ‘The (forthcoming) Black Book of Contemporary Arts: The Celebrity Code‘, can vouch for the above situation from personal experience:

YOU CAN DOWNLOAD THE BLACK BOOK OF CONTEMPORARY ART – THE CELEBRITY CODE FRONT-MATTER SAMPLE, FROM OUR OWN (NOW MORE SECURE) SERVER SPACE USING THIS LINK The Black Book of Contemporary Art- The Celebrity Code – Banned by the Deep State – Front Matter Free Sample Preview

For we, as targets of the so-called ‘celebrities’, ‘handlers’, and ‘managers’, the hired thugs and death squads of the ‘Culture Industry’, have both been victim to the ‘Organised Harassment’ of zersetzung, as has Stephen Shellen.

This plight, an enormous threat to civilisation and democracy in its stifling of autonomous voices through secret police technology, is depicted through the semi-fiction of a terrifying art-film, a glimpse of which is tantalisingly revealed in this Theatrical Trailer for ‘The Spark’:

Stephen Shellen was born in 1957, a tough Canadian youth growing into his high-school’s ice-hockey champ, Stephen broke the mold, for while never backing down from a fight he was simultaneously unafraid of poetry, of prose, of literature, and the arts, and was particularly enthralled by the experimentation of the poets of the Beat Generation.

He accidentally found out, to the amusement of his workmates, that his chiseled looks and rugged demeanour could earn him more in the evenings than his his day job as a lumberjack or road worker, and so went from toiling in Canada, to the cosmopolitan dreamworld, as a lucrative modelling career beckoned him to London:

…and so the couture of the globe’s most exclusive design-houses graced his muscular frame and striking features with the world’s most expensive clothes by day:

…however by night, in mid 1970s London, a less-salubrious sartorial-regalia beckoned, and the cashmere of the catwalk poses to the soundtrack of snapping shutters, and featured in glossy titles like Vogue:

…was being rejected among London’s cognoscenti, and upon Stephen’s arrival, was in the process of being replaced by androgyny, fetish-wear, tabooed imagery, ripped cheesecloth, and rattily knitted mohair. Their message was pioneered in hand-zeroxed and stapled-fanzines like ‘Sniffin’ Glue’, pictured above:

THE BROMLEY CONTINGENT-LONDON’S 1ST GENERATION PUNKS

…and is a look which was animated by the ear-splitting cacophony of the three-chord strum:

JANUARY 1977 SIDEBURNS FANZINE

…for the soon-to-be global phenomenon of Punk Rock, a movement set to change the very attitude of an entire civilisation, was pioneered by a vanguard of a few hundred, including Stephen Shellen, in an upsurge of raw energy and against the sweaty peeling wallpaper of such impromptu and low-rent, downmarket venues as sleazy strip-joints, art schools, and youth clubs, and powered by emerging bands such as The Clash:

THE CLASH CIRCA 1976

Such people, such surroundings, such originality, became Stephen’s preferred new circle rather than the complacent, dull, and dated darlings of the so-called ‘high-fashion’, and it profoundly influenced him. Punk was, however, as is Stephen’s message today, either censored, ignored, or derided by the media and establishment, which now grudgingly acknowledges Punk Rock as one of the most important socio-political movements in modernity.

So finding himself with the leaders of London’s avant-garde amidst the heaving slam-dance which his boisterous hockey-star side admittedly loved as he pogoed and gatecrashed from club to gig to party, often admittedly resulting in a brawling pile on the pavement, the ‘Queensbury Rules’ were disregarded in the tradition of London’s ‘bouncers’ and other notorious street-life.

Already leagues ahead of the pack as a pioneer of human thought and a walking barrage of contradictions, punk first-demonstrated Shellen’s intuitive knack in identifying the important cultural currents in life regardless of any disapproval of the herd, and then moving on in a creative leaps before most even knew it was a ‘thing’.

Shellen, ablaze with the hypnotic ‘spark’ of such London luminaries as Rotten, Strummer, and Poly Styrene, returned to the US to vent his energy at Peggy Feury’s acting school:

…where he joined, what has been rated as, acting’s ultimate ‘Alma Mater’ :

“As a young actress, fresh from Barnard College, the Yale Drama School and the Neighborhood Playhouse, she became a charter member of the Actor’s Studio in New York, quickly amassing stage credits…television and film productions,…In 1973, she and her husband, the actor William Traylor, formed the Loft Studio. It was there, and through her work at the West Coast branch of the Actor’s Studio and the Lee Strasberg Theater Institute, that Miss Feury became known as a leading acting instructor.”8

‘Peggy Feury’, New York Times, 26th November, 1985

With establishment-accepted pupils including Nicolas Cage, Johnny Depp, Jeff Goldblum, Sean Penn, Michelle Pfeiffer, Meg Ryan, Lily Tomlin, Melissa Gilbert, and Charlie Sheen, Shellen emerged as one of Feury’s most notable ‘successes’, even if not by the corrupt Hollywood’s standards, which apparently have changed to now require subservience not autonomy.

However as Hollywood had still, at that time, not been completely corrupted meaning there was still ever-diminishing room for autonomy among the compromised psychopaths and narcissists who were increasingly replacing the old movie meritocracy.

Stephen’s talent and charisma, his ingenuity, his ‘Spark’, catapulted him into Hollywood stardom where his rugged good-looks, artistic sensitivity, and crackling on-screen charisma effortlessly combined to the collective elation of millions of fans, not to mention the fascination of the so-called elite-set including dubious, opportunist-at-best, (in the editorial opinion), Andy Warhol.

So Stephen lived the dream, as constant early morning calls required by a stream of roles rewarded him with a life of luxury, a house in the Hollywood Hills beneath, what he himself labels, the ‘cardboard’ Hollywood sign, and a farm in Orangeville, Canada, thanks to his pursuit of the acting craft he had by now utterly immersed himself into.

So Stephen Shellen, the Spark’s co-producer, writer, director and lead, enjoyed a glittering mainstream Hollywood acting career which has included such titles as Casual Sex? (1988), The Stepfather (1987), the miniseries Hollywood Wives (1985), the TV movie and basis of the series Murder One (1995), the USA Networks series Counterstrike (1990), popular TV shows like Law & Order (1990), Alfred Hitchcock Presents (1986), Tales from the Crypt (1989), American Gothic (1988), and Due South (1994), the films April One (1994), Robocop-The Series (1994), the Academy-Award-winning Robert Redford film A River Runs Through It (1992) alongside Brad Pitt; his scenes described by Newsweek as the funniest in the movie.

His career continued with box office smashes like The Bodyguard (1992), with Shellen starring alongside Kevin Costner and Whitney Houston.

At around this time, after Robert Redfords ‘A River Runs Through It’ had established Shellen as a heavyweight actor, Stephen was using his influence to set up a film production and distribution company and was working on a production and distribution company, as well as several treatments, scripts, and screenplays, but around this time something happened to not only stop the trajectory of Stephen’s career hitting the ‘big time’, but also to ensure that while his creative plans for Hollywood would come to fruition, he would not benefit from them, but that others, without his ‘Spark’, would, as we shall read.

“How long before the status quo finally catches-up with the sentiments of the Stephen Shellen of the 2020s?”9

Jon Hammer

Despite the change in his life we will examine in detail, Stephen continued his commitment to art-films, with small, but critically acclaimed, independent films like Rude (1995), named the Best Canadian Feature Film at the 1995 Toronto International Film Festival, as well as receiving eight Genie nominations.

But already his creative spirit, his inner poet, was reaching beyond the roles he was being offered and Shellen immersed himself into a frenzy of creative ingenuity in screenwriting, but also he sought to nourish not only his own poetic soul but that of the Hollywood community, as in the 1980s, when his acting career was gaining momentum, he ploughed his considerable fortune back into the soul of creativity as he pioneered an exclusive, avant-garde, underground nightclub on Main Street in Santa Monica, CA called “In The Pink.”, an employee refers to him as a:

“pure energetic creative genius with a heart of gold.”10

GHOSTFISH, An Employee at Stephen’s Club, 25th February, 2021

No surprise, the club was a smash hit and attracted:

“movie producers and directors, A-listed actors, Los Angeles ecliptic eccentric artists, high-class people mingling with the hippiest Los Angeles 80’s underground party goers, all pack inside a small hole-in-the-wall, New York style raw brick interior building with local artists paintings hanging in the wall. We charged $50 dollars per guest at the backdoor during that weekend with people lining up outside in the dark back alley and wearing the latest fashion clothing; the back door was the only entrance and you can hear thumping music reverberating from inside the club out into the back alley by our DJ spinning the latest 80s music and some International songs that our DJ would find while traveling the underground nightclub circuits in Europe.

Steven Shellen would showcase, among with other directors including Sean Penn (“The Kindness of Women” that Sean Penn playwrote while serving his time in a Los Angeles jail an exclusively showcased at Pinks), doing theater plays at the club too, Steven would act on a small stage that was constructed with props during the day that he wrote with his fellow actor friends.

Pinks closed on Monday to Wednesday, transforming the club into an actor class studio or a local art auction, and on occasions had avant-garde artists from around the westside subtlety changing the theme inside the club’s atmosphere with creative freedom for the weekend club goers.

He started opening on Wednesday nights, showcasing Poetry Reading Nights that Hollywood movie stars, famous poets, playwrights, and screenwriters doing their stand up poetry reading in front of an exclusive crowd… plus who ever happened to be walking by the club from off of Main Street with the club’s front door being opened to the public.

Pinks was hippest nightclub on the westside in the 80s, I remember bartending for the members of the Brat Pack, Robett Downey Jr, Sean Penn and Madonna (regulars), Chris Penn, Johnny Rotten from the Sex Pistols, U2 band members, Charles Bukowski, actors from Repo Man, Surf Nazi’s Must Die after acting in the club’s theatre plays, Bruce Willis, Leif Garrett and Justine Bateman, Meg Foster, Katey Sagal on our stage singing in her band “The Group With No Name,” Rob Lowe, Sandra Bernhard, Prince…just to name a few.”11

GHOSTFISHAn Employee at Stephen’s Club, 25th February 2021

“I only had one rule [at my club], it had to be original. Had a few fist fights back in the day and unfortunately got a reputation.[…] It was brutal because I created it for me and my friends but once something becomes trendy in Hollywood it is finished, done, over!”12

Stephen Shellen in Conversation with Jon Hammer, February 2021

Upon reading the above description of Shellen’s nightclub, one can’t help but notice the resemblance between that the gritty DIY spirit of first generation London punk and what Stephen was enabling to happen with poetry and theatre. For it enabled an open access forum in which anyone could grab a mike and rant away and potentially do something with your ‘Spark’, if you had ‘The Spark’, just exactly as the punks had done in London just a decade before, and look at what THEY had done to music, to attitude, and the world…could the authorities risk someone doing the same via film?

So after being hosted by the London punk scene, Stephen was now returning the favour by hosting certain of those Dickensian stars of London’s first wave of punk:

SEX PISTOLS AND FRIENDS CIRCA ’77

…in his own very own club- a home from home with a unique twist, as stars now globally feted by the very same media who had previously censored, demonised, ignored them, or had condemned them, as a meaningless flash-in-the-pan, bowed to the weight of global opinion, as to the true value of their message:

“turn the page and the scoop of the century…
don’t wanna be L7 I’ve had enough of this,
this is brainwash and this is a clue,
to the stars who fooled you…”13

‘I Wanna Be Me’, Sex Pistols, 1977

So those who had been censored or decried by the media as a fad of talentless chancers, nonentities soon to be forgotten, when placed in context of *their* history of rock, a history in which today even the purist musicologists, are admitting we were right all along as both the Sex Pistols and The Clash’s debut albums occupy a place in many journos ‘all time top tens ‘alongside Dylan and the Beatles, and Vivienne Westwood who shocked the world with her ‘look’, is courted by the establishment which once proudly despised her.

 Mid 70s Shellen goes to London and sees them…

 Mid 80s they come to US and see Shellen…Coincidence or Patterns?

Whichever it is, one thing is for sure the establishment were not keen on such influence and so rather than the spirit of ’76 opening up the closed shop of Hollywood and the music business, they took its most obvious signs and symbols and made them into a cliché, a shorthand for expression, ‘kitsch’.

His continuing top billed Hollywood roles took on a curious and unbelievably sadistic new SYMBOLIC significance, hard to imagine for most, for it apparently implicates the very top of the Hollywood machine as complicit in his plight but as veterans of the institutionalised gangstalking of the art market, whose treatment has been characterised by the same vile ‘Twilight Language’ OF RITUAL HUMILIATION, implicating the very top of the contemporary art market.

This is achieved in a language of ‘pure evil‘, hidden in the plain sight of billions in the media, and which characterises the ‘elite’ gangstalking used to police the ‘culture industry’.

Thus, after chatting extensively to Stephen about our shared experiences, myself and Jenny recognised ‘The Celebrity Code’, taunting his plight, as it does ours in the content of the output of our respective industries, having quite literally ‘written the book’ on what is without doubt the most widespread secret symbolism in history.

Therefore, this system of control, which incidentally also dupes the public, will be related in due course both in part here, in detail in ‘The Black Book of Contemporary Arts: The Celebrity Code’, and which will subsequently enable the decoding of the entire deranged mediascape for those with the wit to see it.

We will come to the apparent sadistic symbolic significance of the following in Part Two of this piece.

After Stephen’s one-time appearance on La Femme Nikita, he was such a hit with fans, that they literally demanded his return to the series, so he was invited back by producers for the final season, which was aired in the U.S. in January 2001.

Stephen also appeared in the smash hit Nicolas Cage/Angelina Jolie film Gone in 60 Seconds (2000):

…and appeared in Frozen with Fear (2001) alongside Bo Derek.

Stephen has also written a book, has an active voice in the alternative media on controversial Human Rights issues, in particular, on exposing the Deep State crimes which have touched his life, enjoys commercial success as a painter:

Stephen is also a street artist, his work respected by we graffiti writers, who often take such destructive vengeance on those impostors exploiting the romance of the image of the street artist for personal gain at the expense of the culture.

Stephens below-illustrated War-Wall poster-installation and similar works (while targeted by the authorities when found), often remain un-tagged for years, as to paraphrase Stephen ‘graffiti writers intuitively get that its authentic and about important stuff’.:

…and he won an award for the lead voice-acting role in the smash video game Deus Ex: Human Revolution (2011).

Stephen also took full advantage of the access to girls being a Hollywood Star enabled, and is pictured here with one-time partner, Demi Moore:

STEPHEN SHELLEN WITH ONE-TIME PARTNER DEMI MOORE

“Me and Demi [were together] back in the day. She wanted us to take over Hollywood, all these big plans and honestly, I couldn’t have cared less. [She] just wanted to tap into my juice.

She was crushed, at least for a day. Couldn’t understand how I could walk away from such an opportunity, haha! […]

Went to her wedding too, when she was married to Bruce Willis. Don’t think he liked me much cause I broke it off with his now wife. I mean, “who the fuck does this Shellen Guy think he is?” Her mom, when she saw me, jumped into my arms and wrapped her legs around me, so happy to see a familiar face maybe, not just suits (studio execs, agents, producers etc)”14

Stephen Shellen in conversation with Jon Hammer

However his most important achievement, is the creation of a movie about the experience of being targeted with zersetzung gangstalking, which he co-produced with Anesthesiologist and occasional actor, Dr John Hall.M.D.

Dr. Hall is a graduate of the University of North Texas Health Science Center College of Osteopathic Medicine in 1992, specialises in Anesthesiology in San Antonio, Texas, is also the victim of zersetzung gangstalking, and has authored two books on targeting entitled Guinea Pigs Technologies of Control and A New Breed: Satellite Terrorism in America.

Stephen conceptualised, wrote, cast, directed, and starred in this 2018 political art-film called ‘The Spark’:

It is the first ever feature film to tackle the subject of zersetzung gangstalking, the illegal parallel ‘justice system’ used to ‘punish’ and ‘neutralise’ those civilians who have broken no laws, yet have fallen foul somehow, of the ‘power elites’.

A seminal film, ‘The Spark’, is the first feature film addressing to the world how the psychological torture practices pioneered by the Nazis and KGB, and subsequently developed by US intelligence after the World War II Nazi Scientists were absorbed into it under Project Paperclip:

“AMERICAN soldiers fighting in World War II had barely laid down their guns when hundreds of German and Austrian scientists, including a number implicated in Nazi war crimes, began immigrating to the United States. They were brought here under a secret intelligence project codenamed “Paperclip.” Ever since, the U.S. government has successfully promoted the lie that Paperclip was a short-term operation limited to a few postwar raids on Hitler’s hoard of scientific talent. The General Accounting Office even claims that the project ended in 1947.

All of which is sheer propaganda [for] Paperclip was the biggest, longest-running operation involving Nazis in our country’s history. The project continued nonstop until 1973-decades longer than was previously thought. And remnants of it are still in operation today.”15

‘Secret Agenda’, Linda Hunt

…and these ‘remnants’ have grown so huge they have taken over, and are thus threatening our very civilisation, effectively enabling, all around us in the environment, a constant continuation of the vile Nazi human experimentation carried out in concentration camps such as Auschwitz:

…and Dachau, under both the MKUltra programme and the FBI’s Cointelpro, both which are now widely employed globally by the surveillance-state under globalisation, their effects are tackled by Stephen Shellen in his film, based on his own experiences.

So what is ‘The Spark’ actually about?

Well, it is a beautiful art-film tackling the essential subject of political over-reach by the intelligence agencies into Human Rights violations, and the paranoia they deliberately and sadistically, illegally cause, in concert with high technology, power over resources, and psychopathic stalkers.

However it is multi, multi layered as the name ‘The Spark’ reveals, but we will come to that in due course; first the narrative…

The story of ‘The Spark’ is played out through the story of how Michael, a photographer mourning the strange disappearance of a beautiful and missed girlfriend from a 25 years previous relationship, in Paris, tantalisingly catches a glimpse of his treasured ex-lover, who disappeared without a trace, in a Canadian city setting.

However, and mysteriously, it appears that over 25 years she has not changed in her physical appearance.

This appears to be the unstated taboo ‘line that must not be crossed’ which Targeted Individuals often find, begins their abuse.

It essentially fuses the film with ambiguity from the start, could it REALLY be her, after all, if she had not changed in 25 years?

That is ‘impossible’ we are led to believe. But so are lots of other things which turn out to be true, like the excesses of MKUltra, Project Bluebeam, Project ARTICHOKE, Project Stargate, etc.

In a way this ‘impossibility’ serves as an analogy for the excesses of the CIA and other Intel Agency’s so-called, black projects, and the apparent fact that the technology we know of is usually roughly fifty years behind what they actually have.

This enables the other subjects broached in the film to take on a similar ambiguity. There is always the nagging doubt in the viewers mind,as there is in the mind of the Targeted Individual, that maybe they ARE ‘imagining it’, they ‘must be’ because how could anyone be so evil?’, and this quality is admirably nurtured through the films references to apparently fictitious technologies, which when melded with the experience of targeting, and the weed smoked by the lead characters in an attempt to make sense of their knowledge of the ‘real world’ of Deep State mafioso black projects, form a collage of ambiguity.

Baffled, Michael, the film’s principle, attempts to find out what is going on, behind that same invisible line that both Stephen Shellen, myself Jon, and my partner Jenny, as well as tens of thousands of others, have all crossed.

…and like us, Michael in the film, is suddenly targeted by threatening neighbours doing strange things strange phone calls, interference with highly personal affairs:

…sabotage of work, set up failures of essential duties, people mobbing him in the street, strangers stalking and approaching him, mysterious cars, things being moved about in his building during burglaries that show no sign of entry, however it is impossible for Michael to relate this to his circle, for were he to do so he would look mad for these are in fact, and sadistically, all the symptoms a paranoid schizophrenic might report, as is the exact plan of the targeting schedule. From the leaked ‘Gangstalking Manual’ leaked by the subsequently murdered Chief Medical Officer of Northern Finland Dr Rauni Kilde:

“…the punishment phase of active surveillance requires that supervisors customize each punishment action to match the personality of (the) target, and the need to make each punishment action appear to be “life’s normal breaks.”
One important punishment function of surveillance is to sensitize the target. Targets are never told they are under surveillance or being punished. Instead, close, active surveillance and other activities, happening far to frequently to be written off as “life’s normal breaks,” will eventually cause the target to realize they are under surveillance and punishment.

As a community-based agent (CBA), you will be given specific instruction(s) on exactly when, where, and how to carry out punishment actions. As long as you carry out punishment instructions exactly as given, there is no way the target will be believed if they complain, and you will not be exposed to risk of action by law enforcement.”16

‘Leaked Gangstalking Manual for Community Based Agents’, Dr Rauni Kilde, M.D.

As a result his life is gradually destroyed as all ours have been, as trust from associates is degraded by his new and apparently erratic, even psychotic behaviour, his life further unravels and, newly paranoid at what is going on in his confusion at being burgled, stalked, sabotaged, blacklisted, and mobbed, he treats every encounter with strangers, neighbours, and an attractive, though uninvited, companion on a train journey, with dawning suspicion.

His warning message is delivered through a beautifully photographed, technically perfect and multi-layered, semi-fiction narrative depicting the essence of Stephen’s plight through the fictional experiences of one man, Michael, a photographer, how a simulation of schizophrenia is deliberately inflicted with impunity on individuals who are targeted by intelligence agencies.

“I started to see an array of different personalities coming out of my wife.[…] Cars began following me and I would see cars parked at the end of the drive and when I approached them they would race off. Many many strange things started happening. An attempt on my life etc etc. My 4 year old son was threatened to be hurt if he talked to his daddy…constant phone calls in the hotel room, death threats, break-ins and gas lighting…people [on set]…rummaging through all my belongings,as if looking for something.”17

Stephen Shellen

This species of harassment is occurring across the west in an orchestrated programme with outsourced terrorism in league with rogue elements in politics, advertising, the broadcast media, community based agents, the corporate world, banking, the medical profession, and in fact the entire establishment, with the so-called arts, and the world of celebrity and culture at the vanguard of this atrocity.

This subject is broached in a movie which towers above Shellen’s previous work, especially in its adherence to the spirit of the cinematic avant-garde.

“The dark esoteric subject matter, evocative and multi-layered non-linear narrative, exquisite and fully embodied acting performances, as well as, the oblique angles and vivid textures in the cinematography all evoke David Lynch comparisons. That said, I don’t believe Lynch’s work has ever focused primarily on tackling largely unknown, deep-state crimes, of gravely serious immediate significance… Nor has David Lynch, not only written and directed, but starred in one of his own films. Moreover, David Lynch has never made a film that was primarily motivated, and informed entirely by, the evolution of his own profound personal suffering - cultivated for well over a decade… So while it’s appropriate to draw comparisons to Lynch’s work, Stephen Shellen’s “The Spark”, stands on its own as an unique ingenious creation, both from the perspective of creative execution and cultural significance.”18

‘“The Spark” Art Film Debuts Online - Stephen Shellen’s Tour-de-Force on Post 9/11 Surveillance’, Thought Justice

In such a capacity ‘The Spark’ indicates to the viewer, merely through the fact that this global atrocity had been thus far ignored, just how far the entire entertainment industry has plunged into kitsch’s most dangerous element, the totalitarian.

For such self congratulation, in its acceptance of the atrocities of the surveillance-state of globalisation is a totalitarian situation of distraction with the virtue-signaling of identity politics, vital to continue in conning the rest of the community that we are not living in a fully fledged totalitarian society.

This is a construct, meticulously concocted by think-tanks implemented by an immense bureaucracy engaged in the process of lying to millions through the propaganda of politics, media and the arts, and deliberately enabling an ongoing cultural genocide and mass enslavement.

This bureaucracy is as determined in its elimination of ‘undesirables’ and just as occult obsessed as any Nazi regime, especially in its vile treatment of humans, and experimental technologies, a situation of technological enslavement the below trailer for ‘The Spark’ tantalisingly hints at:

This remarkable story of the film’s inspiration in Shellen’s real-life, and the film’s subsequent reception, or the lack thereof, by Hollywood, the media, social media and even alternative media is a story all of its own, one which chimes uncannily with our own experiences of oppression at the hands of the art market.

However, while many of our experiences are shared, there is a profound difference between myself and Stephen.

For while my ‘Spark’ was ‘spotted’ by the authorities and was then locked out of the art market all my life, (much as those with ‘The Spark’ used to be spotted for positive reasons) with all exhibitions, events, engagements, media articles, and even documentaries, censored, sabotaged, and blacklisted and meaning very few have ever had a chance even to see my work and while I have been targeted with gangstalking in an attempt to break my spirit and stop me trying to be an artist, or speaking out about my targeting I have never been allowed to share my talent with the public, however the establishment did not target and censor Stephen until he had got his work has been seen by countless millions.

This is likely due to the intensity of the censorship escalating over the last few decades in line with the ever-approaching plans for global totalitarianism needing to eliminate dissent, or even potential dissent.

Thanks to such exposure garnering the public’s love of his work, Stephen was riding high on a winning trajectory, a trajectory which seemed as if his talent as a screenwriter would see him naturally segue into the Hollywood uber-elite, that tiny minority at the tippety-top of the top, which produces the content for the rest of the planet to be enthralled by. If Stephen was starting out as an actor now he would unlikely even get a screen test.

At around this point Stephen met up (or was set up) with his wife to-be, and the mother of his two children, whose alternating seductive/ aggressive shifting (apparently MKUltra) personalities, provocative utterances, and erratic behaviour, influence Sophie, a key character in the film, ‘The Spark’:

“The director of the french version [of ‘la Femme Nikita] was executive producer, Luc Besson. The woman that played the lead in the TV series, Peta Wilson told me that “maybe the film version [of la Femme Nikita]by Luc Besson was based on your ex wife”.19

Stephen Shellen in conversation with Jon Hammer

Little did Stephen know at this time that the popular illusion of a meritocracy, the popular idea that cultural content is produced by ‘stars’ chosen by the public, for the benefit of the public good is just that – an illusion:

It looks like one thing, but it is really something quite different, and once you have seen both viewpoints, you can never look at it in the same way ever again. He began to make a leap into the next level of Hollywood- as he writes:

“I had a fairly good career and some cache as my name could help get a picture made. A lawyer I knew through a mutual friend wanted in on this production company. …he expressed interest and told me he knew and worked with many heavy hitters and people on The Vancouver Stock Exchange… I had taken some meetings back in 1992 shortly after filming ‘A River Runs Through It’ with Redford and so I was very motivated to meet with some stock brokers and Venture Capitalists in Vancouver. [the lawyer] came on board after all of this. I also had taken [him] around L.A. and introduced him to writers directors and producers I knew. I was anxious to introduce him to a man that distributed Superman, the film with Christopher Reeves. It was my plan to also have a built in distribution arm of our film company. Distributing a film is very important as many great little films are made that never see the light of day or very poor distribution. The goal is to make good product and make money, after all, it is the film business, or so I thought. During one of my trips to Vancouver … he told me we should call the company Lionsgate. …a company you may likely have heard of as according to Wikipedia the story is completely different: Lions Gate Entertainment Corporation, doing business as Lionsgate, is an American-Canadian entertainment company. It was formed by Frank Giustra on July 10, 1997, in Vancouver, British Columbia, Canada and is currently headquartered in Santa Monica, California, United States. In addition to its flagship Lionsgate Films division, which generated the seventh-highest gross revenue in North America in 2015, the company contains other divisions such as Lionsgate Television and Lionsgate Interactive.[4] It owns a variety of subsidiaries such as Summit Entertainment, Debmar-Mercury, and Starz Inc.”20

Stephen Shellen

However there is no mention of Stephen Shellen, for strange things started to happen, for according to Stephen, in allegations he has repeatedly made, and which he has never been sued for, after having essentially done the work of setting up the Lionsgate company, all the documents pertaining to it as well as scripts, treatments, and screenplays he had written, were stolen and would, like Lionsgate, all be made into smash successes but with Stephen written out of the equation, like he never existed:

What both our experiences of being targeted for being talented and speaking about it by our respective industries demonstrate, is a characteristic pattern utilising almost identical techniques to punish we with the most talent:

…as those with less talent, who are at the top of the industry often directly carry out, orchestrate or instigate the attacks and ‘punishment’ for possessing ingenuity.

This illusion of ‘stardom’ in those of inferior talent is then accomplished using complex propaganda backed up by the media, social media and big tech, their ‘original work’ is enabled using ideas directly stolen or plagiarised from we of original thought and superior ability, which are dishonestly passed off to the public as being the work of ‘stars’.

This is doubly beneficial for those who perpetrate these crimes as it gives them content to pass to the public and enables them to pretend they are creative with the help of the media, while in reality they go against the grain of thousands of years of autonomous artists by being micromanaged tools of the so called ‘elite.

Apart from the lifestyle rewards that accompany such a role, plagiarism from their creative betters means they sadistically enjoy the ‘buzz’ of depriving genuine creatives, geniuses, and innovators from benefiting from their work, while they instead take the credit!

In such a way they get to feel ‘superior’ over those of superior talent.

I had only experienced this is the way the art market works.

I suspected that it was this way across other elements of the creative arts and I had seen evidence of it, however thanks to the censorship of dissent, I had not heard about specific acts of it and how they affected the victim, those with ‘The Spark’.

That was until I heard about Stephen Shellen’s story of targeting, and his film ‘The Spark’.

The censorship of the film is so effective that, despite writing my (still unreleased due to constant hacking) book, ‘The Black Book of Contemporary Arts: The Celebrity Code’ specifically about the above situation, and thus regularly researching it across the media and social media, I did not come across Stephen’s film, until a few week ago.

I had no idea about the existence of a 2018 film depicting the very no-touch-torture schedule of zersetzung targeting which both myself and my disabled partner as well as Stephen Shellen and countless others are being subjected to by the intel agencies and culture industry.

This was until a chance encounter on social media, which I am shadowbanned on, at the start of 2021 which enabled us to find out about, and watch ‘The Spark’ and find out about the story of the suffering endured by this magnificent film’s writer, director, and star, as well as about his life and the atrocious set of events and unlikely cast of characters involved in the systematic destruction of his life, and web of intrigue which led up to and inspired the film’s narrative.

It was becoming clear whose job it is to spot people with ‘The Spark’ in the arts and to somehow try and ‘neutralise’ them or ‘tame’ them.

It may seem difficult to accept that such people exist but they do, we know for they have deliberately made OUR lives hell, since 2008, however those in the top percent of the top percent share a common attribute- in the capacity of a Renaissance Man, ones ‘Faculty X’ mans one is more difficult to ‘tame’, those with the highest levels of what is known as ‘Faculty X’ or ‘The Spark’ CANNOT be tamed, not out of childish stubbornness, or petulant egocentrism but through the very healthy dose of ‘Faculty X’

So Shellen’s role then, as it is now, was as an accidental prophet and was not just apparent to those who admired him and what he was doing, trying to do, for there were others who liked things to be just the way they were, thank you very much.

This faculty ‘X’ dished out at birth paying no attention to race, class, creed – is natures own ‘antennae’ for humankind, a phenomenon which presents a profound threat to the so-called ‘elites’ and their handpicked micromanaged shills recruited in place of such people, thus we see across the entire spectrum of the arts being annihilated in what is defined by the United Nations as Cultural Genocide.

“Ready to kill
you make me ill,
You want to be someone,
you want to be someone,
you want to be someone.
Ruin someone
Make it as someone,
you want to be me,
ruin me.”21

‘I Wanna Be Me’, Sex Pistols, 1977

But even at this stage, Shellen admits with hindsight, that he rejected invitations to what he implies he thought of as the *sleazy* Hollywood parties, and wanted no part of it, and while also admitting that he was, to an extent ‘caught up in the Hollywood bubble’, not through vanity or narcissism, but merely through his love of the craft of acting, but he didn’t NEED to ‘suck up’, fawn, or toady, as so many are willing to do in order to get that role.

So Shellen was, shall we say, a little TOO successful, while lacking certain other qualities, required in order to REALLY make it, such as knowing when to shut up.

He also admits to feeling a sense that his habit of being outspoken, of saying what was on his mind, rather than what people would like him to say, was getting him noticed – but not in a good way.

But why the hell shouldn’t an artist, whether an actor or a painter, speak out?

After all through history, that is the one common characteristic attribute that has joined the artist in all our manifestation for millennia, outspokenness, for painters, poets, singers, dancers, have been outspoken, passionate, visionary; why is this?

Well, it is because all genuine ‘poets’ possess that something Colin Wilson calls ‘Faculty X’, and which is what Stephen is referring to in the title of his film is ‘The Spark’, so what is Faculty X:

“Faculty X is simply that latent power in human beings possess to reach beyond the present. After all, we know perfectly well that the past is as real as the present, and that New York and Singapore and Lhasa and Stepney Green are all as real as the place I happen to be in at the moment. Yet my senses do not agree. They assure me that this place, here and now, is far more real than any other place or any other time. Only in certain moments of great inner intensity do I know this to be a lie. Faculty X is a sense of reality, the reality of other places and other times, and it is the possession of it – fragmentary and uncertain though it is – that distinguishes man from all other animals.”22

Colin Wilson, ‘The Occult: A History’

However, as he was caught up in the bubble of acting, he was unaware of a sinister dynamic which had noticed his qualities of being genuinely independently outspoken and an autonomous thinker equipped with a massive natural gift of Faculty X, and which was apparently eyeing up his trajectory with plans to stop it.

While these are the qualities of artists that have been most prized for centuries, they are not, however, appreciated in the current mediascape as I have found out, and are not merely treated with the scorn of envy, but a calculated and institutionalised system of ‘targeting’; I can personally vouch for this as I have gone through a very similar process from the art market.

This is, one of Hollywood’s most fascinating tales, the barely told Hollywood whistleblower story of zersetzung gangstalking that birthed one of the great avant-garde movies, the totally blacklisted but utterly brilliant 2018 art-film, ‘The Spark’, a movie which should, by all normal human, media, and entertainment standards, be the defining epic of the age, a tale based on the tragedy of what happened to the person who may be Hollywood’s last Renaissance-Man as he tried to investigate, and thus threatened to blow the whistle on what was happening to him, and his wife and children as they were being abused and trafficked, and thus stand up for the rights of the individual against the power of the machine, thus fulfilling a long celebrated archetype in Hollywood as we shall see, for hypocritical Hollywood has long celebrated the whistleblower:

“Whistleblower Wilma/Wilson: A character who sees a villain – or even a hero – breaking the rules and turns them in because of their own moral conscience. […] many whistleblowers risk their friendships, careers, or even their lives to tell the truth.”23  

‘The Stool Pigeon: Whistleblower Wilma/Wilson’, TV Tropes.

Hollywood as an institution holds such people who endanger their safety for the public good as the ultimate champions, this ‘Trope’ is known as ‘The Fettered’:

‘The Fettered’:

“All these years I thought it was power that brought responsibility. It’s not. I was wrong. It’s responsibility that brings power. It’s knowing what needs to be done that brings strength. And courage.”24

Peter Parker, ‘Earth X’

The Hollywood machine is saying that it is noble when you encounter corruption especially injustice against the weak from either figures of authority or those with more power, and especially those who are looked up to by the public to hold certain standards:

“Responsibility, honor, and justice. The Fettered believe in these ideals and willingly bind themselves to them, and in so doing draw strength to face whatever challenges arise. When their morals, values, and loved ones are put in danger, they rise to defend them with Heroic Resolve.”25

‘The Fettered’, TV Tropes.

…the ultimate hero archetype is thus expressed by Hollywood  is the one who cast aside concern for their own life, reputation and safety and as the whistle blower exposes the evil and corruption and expose the horrors of the machine and thus disempower it, in order to enable the public benefit and empower the little guy.

In so doing they appear to be exposing the real face of the villains to the world, pulling back the curtain, unmasking evil, exposing the truth and the hypocrisy that guards it.

Since the Second World War Hollywood has poured the energies of its most revered producers, actors, writers, directors and cinematographers into a continual effort to associate itself with the noble virtue of the whistle blower as we will see…

ON THE WATERFRONT (1954)

“In this all-time classic film — which won the Oscars for best picture, best director (Elia Kazan), best actor (Marlon Brando), best supporting actress (Eva Marie Saint) and best adapted screenplay (Budd Schulberg), among others — Terry Malloy (Brando), a working-class guy who runs in questionable circles, is plagued by guilt and ultimately agrees to testify about union corruption on the Hoboken docks after unwittingly helping to facilitate the union-authorized murder of a man whose sister (Saint) later becomes his lover.26

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: On The Waterfront’, The Hollywood Reporter

THE HARDER THEY FALL (1956)

“This Mark Robson film, which was inspired by the Primo Carnera boxing scandal and adapted from Budd Schulberg’s novel of the same title, features Humphrey Bogart as a down-on-his-luck reporter who takes work publicizing a shady promoter’s new boxer, only to discover that the boxer’s fights are fixed and the promoter is letting the boxer get brutalized and then underpaying him. Eventually, he intervenes on behalf of the boxer and begins writing an exposé about corruption in the sport.27

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Harder They Fall’, The Hollywood Reporter

SERPICO (1973)

“In this Sidney Lumet film about NYPD officer Frank Serpico — an idealistic cop who agreed to go undercover and, over the course of 12 years, helped to expose and root out corruption in the force –– Al Pacino (Oscar-nominated for his portrayal of the title character) gives one of the most iconic performances of his illustrious career.28

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Serpico’, The Hollywood Reporter

ALL THE PRESIDENT’S MEN (1976)

“Deep Throat” (Hal Holbrook) — who decades later identified himself as FBI agent Mark Felt — feeds tips about corruption in the Nixon Administration to Washington Post reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) in this adaptation of the newsmen’s best-selling 1974 book.”29

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: All the Presidents Men’, The Hollywood Reporter

THE CHINA SYNDROME (1979)

“In James Bridges’ haunting film, a nuclear power plant almost melts down during a visit by a television reporter (Jane Fonda) and cameraman (Michael Douglas), whose resulting footage was snuck out of the facility to be shown to experts. When the company that owns the billion-dollar facility and hopes to keep the incident quiet finds out about the breach, it begins to threaten and intimidate the reporter and cameraman.30

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The China Syndrome’, The Hollywood Reporter

PRINCE OF THE CITY (1981)

“Sidney Lumet’s crime drama, which was inspired by real events, is about an NYPD officer (Treat Williams) who is approached by the FBI to report on corruption in the department and agrees to do so in return for leniency for his own role in it, provided he does not have to name specific colleagues — but who nonetheless winds up having his loyalty questioned. Lumet and co-writer Jay Presson Allen received a Best Original Screenplay Oscar nomination”31

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Prince of the City’, The Hollywood Reporter

SILKWOOD (1983)

“This film — which the Academy rewarded with noms for best director (Mike Nichols), best actress (Meryl Streep), best supporting actress (Cher), best original screenplay (Nora Ephron and Alice Arlen) and best film editing — retells the true story of Karen Silkwood (Streep), an employee at a plutonium plant and a labor union activist who, along with some colleagues, was contaminated by radiation after an accident at the plant. Her employer tried to pin the blame on her, but she discovered and disseminated evidence that they were covering up the truth — only to die under mysterious circumstances shortly thereafter.32

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Silkwood’, The Hollywood Reporter

THE FIRM (1993)

“This Sydney Pollack adaptation of John Grisham’s book stars Tom Cruise as Mitch McDeere, an up-and-coming young lawyer who is recruited by the FBI to help investigate the fact that every lawyer who has ever attempted to leave his firm has eventually been murdered. McDeere is torn between providing the FBI with the information they request (and in so doing possibly violating attorney-client privilege, which could lead to disbarment) or remaining with the firm (thus potentially setting himself up to go down with his colleagues when the FBI finally moves in on them). He eventually finds a way to “thread the needle” between the two options.”33

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Firm’, The Hollywood Reporter

THE INSIDER (1999)

“Michael Mann’s dramatic thriller, revolves around Jeffrey Wigand (Russell Crowe in an Oscar-nominated performance), a former research biologist for a cigarette company who is approached by a 60 Minutes producer (Al Pacino) to talk about malpractice on the part of the cigarette industry. Initially reluctant to do so, he changes his mind when his employers pressure him. He grants an interview to Mike Wallace (Christopher Plummer), revealing that Big Tobacco was not only aware that cigarettes were addictive and harmful, but actually worked to increase their addictiveness.”34

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Insider’, The Hollywood Reporter

ERIN BROCKOVICH (2000)

“This film brought Steven Soderbergh one of his two best director Oscar nominations in 2001 (he ended up winning the prize for Traffic) and Julia Roberts a best actress Oscar for her portrayal of the title character, a real working-class single mom who, as a law clerk, stumbled upon evidence that a big gas and electric company was knowingly poisoning people through contaminated water and helped to organize a major class-action lawsuit against them.”35

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Erin Brockovich’, The Hollywood Reporter

THE CONSTANT GARDENER (2005)

“The wife of a British diplomat in Kenya (Rachel Weisz in an Oscar-winning performance) is killed while attempting to expose wrongdoing on the part of a large pharmaceutical company, prompting her husband (Ralph Fiennes) to crisscross the globe in search of the truth.”36

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Constant Gardener’, The Hollywood Reporter

NORTH COUNTRY (2005)

“After a large number of female mine workers are subjected to verbal and physical abuse by their male superiors and colleagues, and the company’s higher-ups refuse to do anything about it, one female employee (Charlize Theron in an Oscar-nominated performance) rallies a bunch of her reluctant colleagues (including Frances McDormand, also nominated for an Oscar) to take their employer to court at the risk of their jobs.”37

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: North Country’, The Hollywood Reporter

MICHAEL CLAYTON (2007)

“A ruthless corporate “fixer” (George Clooney in an Oscar-nominated performance) faces a crisis of conscience when he is asked to work on behalf of a chemical company that knowingly contaminated an entire Wisconsin community and aims, via its own legal counsel (Tilda Swinton in an Oscar-winning performance), to cover it up.”38

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Michael Clayton’, The Hollywood Reporter

BREACH (2007)

“This 2007 thriller, based on a true story, chronicles how FBI agent Robert Hanssen (Chris Cooper) is exposed as a spy for the Soviet Union by Eric O’Neill (Ryan Phillippe), a young man whom he had mentored at the agency.”39

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Breach’, The Hollywood Reporter

THE MOST DANGEROUS MAN IN AMERICA: DANIEL ELLSBERG AND THE PENTAGON PAPERS (2009)

“Judith Ehrlich and Rick Goldsmith’s Oscar-nominated doc recounts the story of Daniel Ellsberg, who in 1971, as a U.S. military analyst working for the RAND Corporation, accessed and leaked to newspapers thousands of top-secret documents about the government’s honest assessment of the state of the then-ongoing Vietnam War — documents that came to be known as the Pentagon Papers — infuriating the Nixon Administration and earning the title moniker from the embattled president.”40

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Most Dangerous Man in America Daniel Ellsberg and the Pentagon Papers’, The Hollywood Reporter

THE INFORMANT! (2009)

“Writer-director Steven Soderbergh and actor Matt Damon — frequent collaborators — teamed up for this outlandish crime dramedy that was inspired by the real life story of Mark Whitacre (Damon), a promising employee at Archer Daniels Midland who, at the urging of his wife, tips off the FBI about the company’s price-fixing tactics — even though in doing so he also implicates himself in criminal activity that might otherwise have escaped notice.”41

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Informant’, The Hollywood Reporter

THE WHISTLEBLOWER (2010)

“Larysa Kondracki’s criminally overlooked thriller, which was inspired by a true story, features a tour-de-force performance by Rachel Weisz as Kathryn Bolkovac, an American policeman who accepted a high-paying temporary job with the United Nations peacekeeping force in Bosnia in order to finance a move to be closer to her daughter, who lives with Bolkovac’s ex-husband. In Bosnia, Knodracki uncovers a global sex trafficking operation in which members of her own organization are active participants and enablers, prompting her — at a great risk to her own life — to fight relentlessly to help the victims and bring the perpetrators to justice.”42

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: The Whistleblower’, The Hollywood Reporter

FAIR GAME (2010)

“Ripped from the headlines of the day, this Doug Liman film tells the true story of Valerie Plame (Naomi Watts), an undercover CIA agent who was “outed” by her own government after her husband, U.S. diplomat Joe Wilson (Sean Penn), publicly accused the Bush Administration of citing information that he had personally discredited as justification for the war in Iraq.”43

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Fair Game’, The Hollywood Reporter

SEMPER FI: ALWAYS FAITHFUL (2012)

“Tony Hardmon and Rachel Libert’s powerful film, which made the short list of 15 films from which the five best documentary feature Oscar nominees were ultimately chosen, chronicles the heartrending experience of Jerry Ensminger, a lifelong military man who is forced to pursue legal action against the Marine Corps after discovering that the death of his 9-year-old daughter — and that of many other military people and their families who also lived at North Carolina’s Camp Lejeune — was probably caused by water contamination, which some in the military were aware of and helped to cover up.”44

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: Semper Fi: Always Faithful’, The Hollywood Reporter

WE STEAL SECRETS: THE STORY OF WIKILEAKS (2013)

“In this recent documentary, Oscar winner Alex Gibney offers a look at the rise to prominence of Julian Assange and his secrets-exposing organization WikiLeaks, WikiLeaks’ association with Pvt. Bradley Manning and the infighting that has plagued the organization in recent years. Coincidentally, it was released just before the name Edward Snowden was made famous by a series of other leaks.”45

Chris Godley, Scott Feinberg, ‘The 21 Best Movies About Whistleblowers: We Steal Secrets: The Story of Wikileaks’, The Hollywood Reporter

Thus, in the continual outpouring of such material the public are conditioned through this propaganda, the masses are conditioned like Pavlov’s dog through repeated exposure to this whistleblower sentiment, so that any exposure to Hollywood, or anyone associated with it, automatically forces us to think about the fight for truth and justice they repeatedly portray in their films!

 

This is because we believe that Hollywood in promoting such stories of the importance to society of the whistleblower, would naturally always be on the side of the little guy in drawing attention to injustice, and against the ‘big bad’ of organised corruption and decadence.

This aspect of humanity of the whistleblower is repeatedly heralded in Hollywood in all its aspects, against all manifestations of organised corruption as we have seen in the above movies, and is exemplified by the outlaw archetype:

“OUTLAW ARCHETYPE

REBEL | REVOLUTIONARY | MAVERICK

You’re a rule breaker to your core. You give zero Fs about being popular or fitting in. You aren’t afraid to take risks, share unpopular opinions or lean in to what makes you controversial. Your audience loves your polarizing personality and rebellious nature, and they’re equally inspired by your willingness to raise hell and break rules in the name of inciting change.”46

Outlaw Archetype’, The Solopreneur Society

So given this state of affairs, after Hollywood has literally drawn attention to whistleblowers in every sphere of human endeavour except itself, you would think that the most coveted of all whistleblowers, the most protected, the most lauded, given the most attention would naturally, would be be the whistleblower who draws attention to tyranny and injustice against the weak, in Hollywood itself!

Anyone who had exposure to the above related output, would automatically assume that the industry, would collectively pull rank around someone seeking to draw attention to wrongdoing to collectively back and give support, to honour their brave colleague in keeping with the sentiment of the  heroes  of their above films, in their constant celebration of the whistleblower as the central archetype of Hollywood’s existence, the key regulator of corruption they present to the people as a continual thread of the cult of celebrity, and movies, which is the sentiment we have seen which they essentially continually pump out in a message to the people of the world that one MUST stand up for good and against bad.

WHISTLEBLOWING AGAINST HOLLYWOOD MIND CONTROL

However, when Hollywood itself is finally challenged by the sentiment that tell the world they find so heroic, in someone standing up against systemic evil and eventually becoming something of a whistle-blower, by speaking out about it, not from an outsider, but by one of their own, we find that something quite different happens, and while this piece is ultimately about the movie, ‘The Spark’ by Stephen Shellen, we can see this film was inspired by events in Stephen Shellen’s predicament:

However, there is more to Stephen’s story of being targeted than even those familiar with zersetzung gangstalking could imagine, for his life was also profoundly affected by MKUltra mind control.

His story is just the tip of the iceberg, for as the now-blacklisted Roseanne Barr, Hollywood insider of the ‘Roseanne’ show confirmed in the below video interview the hellish Nazi/CIA ‘Mind Control’ programme, “MKUltra rules in Hollywood”:

…confirming that behind the virtue-signalling twinkling mask of political correctness, supporting minority cultures and sexual equality, there lurks horrendous ‘mind control’.

In fact, his personal story indicates there is hard fact to the sinister truth of the once-hallowed Tinseltown, now increasingly irrelevant despite the controlled-opposition attempts at derision and exposure, from award-show rants to frothing ‘exposes’ from tinfoil-hat wearing loons, as they so desperately attempt to keep the interest of the increasingly clued up masses bored-stiff by the tiresome displays of vile occult symbolism.

The reality of this charade has become the story of ‘The Spark’, a real-life, semi-fiction, neo-noir, a spectacle suffering from schizophrenia of Kafkaesque proportions which delightfully breaks as many rules of the standards of the cinematographic art, just as the stalking he portrays breaks the rules of the Human Rights Acts, and only thus can the full horror of the gangstalking schedule be portrayed on screen.

Shellen has made a neo-noir in which the femme fatale is not just elusive but not even glimpsed, an experimental film which proves that truth is infinitely more fascinating than fiction, the odyssey of an artist indicating that the real stars are just too bright for the public to skim over in any of the glossies, meaning committed truth-seekers have to look to the periphery, here on the wrong side of the blogosphere and social media, to learn of this twinkling gem of forbidden truth and behold the reality of Hollywood Babylon.

For Stephen was inspired to make ‘The Spark’ as he was condemned by his own ingenuity, charisma, and morality to the persecution, plagiarism, and penury of destruction of his career, devastation of his fortune and destitution of his life inflicted by the very industry the world is led to believes encourages those very attributes.

The fact that talent of Stephen’s stature is, to the elite; an abomination, a threat to the industry’s totalitarian control, and it must be effectively censored, deleted, disappeared, in order that the public may be sufficiently deprived of the mastery of the arts and that humankind’s innate lust for transcendence quietly extinguished, however sometimes with a suppressed cocktail of spirit so heady, so hypnotic-the occasional fragrant waft of freedom will slip through the stifling miasma of totalitarian kitsch, that comprises the occult signscape.

Pioneered by the Nazis and the KGB, zersetzung is in use today more than it ever was during the Cold War, using even more sadistic however it is unreportable in the ‘fake news’ of the mainstream media, vehemently denied by official sources, ignored by police or in my experience, deleted from the UKs Police National Computer, shadowbanned on social media as it aims to destroy every aspect of a person’s existence through blacklisting, censorship of their presence from the media and web, stalking, subtly threatening phone calls, texts, emails, calculated smears, repeated harassment in the form of overt observation, including by gangs of thugs who hang around outside the target’s building and even move into adjacent properties, staged street theatre known as ‘mobbing’, break-ins in which nothing is taken but in which objects are moved about, alarm clock times changed, brands of grocery switched, all with the intention that either the target thinks they are losing their minds or, if they complain, that people will think they are experiencing schizophrenia or a psychotic breakdown, meaning the medical establishment are prone to diagnose anyone who alleges this is happening to them, as suffering from schizophrenia or psychosis.

The aim of the schedule?

To ‘neutralise’ the target so they cannot continue with the ‘offending’ action.

CONTINUED IN PART TWO…


You can buy or rent ‘The Spark’ by Stephen Shellenberger here and visit his website here.

patreon.com/stephenshellen?fan_landing=true


  1. Shellenberger, Stephen. (April 17, 2018). ‘The Spark’, Film Tagline. Vimeo.
  2. Ibid.
  3. Favorite Hunks. (August 11, 2015). ‘Stephen Shellen: Orchestrated Exit?’.
  4. Hunkstoooo. (December, 2009). ‘Favorite Video of the Day Steve Shellen in Gimme An F’.
  5. Shellenberger, Stephen. In conversation with Jon Hammer.
  6. Britannica. ‘Renaissance Man’.
  7. Hertzberg, Max. (November 22, 2016). ‘The Stasi and Zersetzung’.
  8. New York Times, (November 26, 1985). Section B, Page 14. ‘Peggy Feury’.
  9. Hammer, Jon. (2021).
  10. GHOSTFISH, An Employee at Stephen’s Club. Blog Post Comment. (February 25, 2021). ‘Stephen Shellen – The Spark: Stephen Shellen is a hero in our fight.’ (August 29, 2020). Fighting Monarch.
  11. Ibid.
  12. Shellen, Stephen. In Conversation with Jon Hammer. (February, 2021).
  13. Sex Pistols. (1977). ‘I Wanna Be Me’.
  14. Shellen, Stephen. In conversation with Jon Hammer.
  15. Hunt, Linda. (April 1. 1991). ‘Secret Agenda: The United States Government, Nazi Scientists, and Project Paperclip, 1945 to 1990’.
  16. Kilde, Dr Rauni M.D. ‘Leaked Gangstalking Manual for Community Based Agents’. Targeted Justice.
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  18. Thought Justice. (May 26, 2019). ‘“The Spark” Art Film Debuts Online - Stephen Shellen’s Tour-de-Force on Post 9/11 Surveillance’. Minds.
  19. Shellen, Stephen. In conversation with Jon Hammer.
  20. Shellen, Stephen.
  21. Sex Pistols. (1977). ‘I Wanna Be Me’.
  22. Wilson, Colin. (1971). ‘The Occult: A History’. Publisher: London, Hodder and Stoughton. pp. 59.
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  40. Godley, Chris, Feinberg, Scott. (March 7, 2013). ‘The 21 Best Movies About Whistleblowers: The Most Dangerous Man in America Daniel Ellsberg and the Pentagon Papers’. The Hollywood Reporter.
  41. Godley, Chris, Feinberg, Scott. (March 7, 2013). ‘The 21 Best Movies About Whistleblowers: The Informant’. The Hollywood Reporter.
  42. Godley, Chris, Feinberg, Scott. (March 7, 2013). ‘The 21 Best Movies About Whistleblowers: The Whistleblower‘. The Hollywood Reporter.
  43. Godley, Chris, Feinberg, Scott. (March 7, 2013). ‘The 21 Best Movies About Whistleblowers: Fair Game’. The Hollywood Reporter.
  44. Godley, Chris, Feinberg, Scott. (March 7, 2013). ‘The 21 Best Movies About Whistleblowers: Semper Fi: Always Faithful’. The Hollywood Reporter.
  45. Godley, Chris, Feinberg, Scott. (March 7, 2013). ‘The 21 Best Movies About Whistleblowers: We Steal Secrets: The Story of Wikileaks’. The Hollywood Reporter.
  46. The Solopreneur Society. ‘Outlaw Archetype.

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