By Bryce Zabel
Exclusive to Silver Screen 
Saucers from material 
originally published in A.D. After 
Disclosure. 
___________________________________________
Some UFO researchers believe that the 
entertainment industry is part of the effort to acclimate the public to accept 
the concept of alien life. Hollywood, it has been argued, has collaborated with 
the intelligence community to release disinformation, and at other times leak a 
few details to prepare people for eventual contact with non-human 
life.
Certainly several 1950s movies look 
like CIA-sponsored attempts to deal with Roswell. Researcher Bruce Rux cited 
1951’s The Thing from Another World, 
considered to be the first realistic flying saucer movie, which reflected 
certain elements of the crash and recovery at Roswell four years earlier. The 
film’s maker, RKO, was up to its eyeballs in intelligence assets. It was owned 
by billionaire defense contractor and test pilot Howard Hughes, plus it was a 
subsidiary of Time-Life, which was owned by CIA-connected Henry Luce. The movie 
also captured the essence of the Top Secret government study, Project Twinkle, 
which was then classified.
Some of the other movies of the era 
look suggestive, also. Several key industry players had connections to military 
intelligence and later the CIA.
|  | 
| On set: The 
Day the Earth Stood Still (1951) | 
Edmund H. North, the screenwriter of 
the 1951 UFO film, The Day the Earth 
Stood Still, had worked in the Army Signal Corps during the Second World 
War. It would seem that the secret-keepers wanted to float some trial balloons 
before the public, and that Hollywood producers were happy to 
oblige.
If so, their message 
seems unclear. Although The Day the Earth 
Stood Still demonstrated alien tough-love, many other movies from this 
period were invasion-oriented. They included Earth Versus the Flying 
Saucers, Invasion of the Body Snatchers, and The War of the Worlds. Were these also 
examples of CIA influence? And were they the result of official policy, or some 
unauthorized leak?
If there is continued intelligence 
community influence amid the out- pouring of ET-related movies today, it is even 
harder to know what the message is.
|  | 
| Spielberg and 
E.T., 1982 | 
Consider the career of 
Steven Spielberg. When he developed Close 
Encounters of the Third Kind in 1977, some wondered if he was part of a 
government acclimation program. Spielberg has always denied this, saying that he 
simply believes in extraterrestrial life and knows a good story when he sees 
one. Although such a denial is to be expected, Spielberg’s choices in this genre 
support his position. His films have hardly been limited to a monochromatic meme 
about contact, something one might expect if he were receiving inside 
information. His early films, such as Close Encounters and E.T.: The 
Extraterrestrial, both portrayed the Others as 
benevolent scientists. His later treatments, however, showed no such optimism. 
Taken, his epic television series, 
depicted abductions as the core UFO secret, The War of the Worlds presented Martian 
predators wiping out humanity, and his television series Falling Skies featured the resistance 
against an alien invasion of Earth. Spielberg has also been behind such diverse 
projects as Men in Black, featuring 
Earth as a cosmic way-station, the historical fantasy Cowboys and Aliens, and Transformers, with its robotic threat. 
The easiest explanation for this extraordinary diversity of treatment is that 
Steven Spielberg, like other people, reads the literature.
The same can be said 
for the rest of Hollywood. During the 1990s, TV series such as The X-Files (“The Truth Is Out There”) 
and the historical conspiracy Dark Skies 
(“History Is a Lie”) portrayed the government as involved in a UFO cover-up and 
willing to go to almost any lengths, often extra-legal, to maintain the secret. 
Both were subject to much speculation, usually either as a means to prepare the 
population, or else to provide disinformation. 
Yet, why would the covert elite 
authorize dramatic content highlighting their own lies and deceit? If anything, 
Hollywood’s natural method of operation may work in opposition to Disclosure. 
Its product is of such uneven quality, its messages so diverse, that any citizen 
hungering for its truth will receive only confusion.
If the Breakaway Group indeed had been 
using Hollywood as a means either to prepare the public for the eventual truth, 
or else to obfuscate and bury the truth still deeper, the moment of Disclosure 
will have caught them off guard, as it will have caught everyone 
else.
Bryce 
Zabel is co-author with Richard Dolan 
of A.D. After Disclosure: When 
the Government Finally Reveals the Truth About Alien 
Contact, which will be published in May 
2012 by Career Press New Page Books of New York. 
A.D. After 
Disclosure is available for pre-order at Amazon.com and 
Barnes & Noble.  Join the A.D. discussion at AfterDisclosure.com 
and on Facebook.