DreamWorks and the Future of America
How Israeli-connected organized crime betrayed the USIC and the OG Mossad
Here I will investigate the hypothesis that Steven Spielberg’s DreamWorks SKG in some capacity represented an intelligence collaboration between the USIC and the Israeli government. More importantly, I will examine how the rift between major Hollywood studios revealed the trace of an internecine struggle between this intelligence alliance and Israeli-connected organized crime. There’s a whole lot of ground to cover here, so take a seat and bear with me.
For what it’s worth I’m a diehard fan of Spielberg (as well as his friend/protégé Tom Hanks) and consider him a heroic American-Jewish patriot of conscience. I also think the frequently ridiculous slander thrown around about him is shameful to say the least.
I won’t try and speculate on his exact role regarding particular organizations, I will only entertain the notion that he has been associated with the highest levels of both the Israeli and American governments, as well as their public-facing intelligence efforts for quite some time.
It should be noted that Spielberg has been awarded the Presidential Medal of Freedom, the Kennedy Center Honor, and the Department of Defense’s Medal for Distinguished Public Service. (Incidentally, did you know Spielberg once submitted a script to a CIA cutout which now-famously snuck American hostages out of Tehran?)
No mistake about it, Steven Spielberg is a very special man, and has served his country with a profound distinction. We here at the United States Postal Service have a supreme regard for such an American mensch, and nothing but the highest hopes for his future and the continuing endurance of his legacy.
Even with all this being the case, it does seem noteworthy that Spielberg once said he would give his life both for America and for Israel - a claim which I sincerely believe. It isn’t only that he’s made the most famous film about the Mossad of all time, he’s also recently spoken out (in a measured way, to be sure) on behalf of Israeli causes and is a longtime high-profile partner of the Israeli-deep-state institution Yad Vashem.
Adults in the room as we are, we should be respectful of how things have been done historically, although to quote from one DreamWorks-distributed film, tellingly directed by the son of a Mossad-recruit “candidate” - and an incredibly underrated film at that - “No castle can have two kings”.
While Spielberg is a personal hero of mine and one of the true heroes of Hollywood’s long history itself (as will become clear in this essay), it should be said that this escalating friction regarding American-Jewish identity will almost assuredly become something to consider going forward.
I first wrote about this 6 months ago prior to my departure from X (and the bizarre occurrences afterwards), and always wanted to elaborate more on the theory. I have a number of reasons to suspect this is the case, and enough of this is open-source at this point that I feel confident presenting the issue on its face.
Before I start, I should state that OSINT is an imperfect tool and carries a duty - with this great new power comes a great new responsibility. So consider this a good-faith attempt (during a time of global war and the foreign intelligence penetration of the American government) to combat increasingly prevalent Russian/Chinese disinformation operations which utilize antisemitism to leverage public sentiment against the United States (i.e. “The Evil Jews Run Hollywood!” and so on).
Moreover, Netanyahu’s Likud Party also encourages such antisemitism for their own paradoxical pseudo-Kahanist-nationalistic reasons as well, and as long as we’re being honest I’ve never heard you cheapskates complain about a (free) two-for-one deal before, so I’ll just say I’m happy to be of service.
Here I’m merely rehashing openly available information about the careers and associations of several very public figures, in order to hopefully set the record straight for anyone reading, with the eventual hopes of us moving a deadlocked situation forward for the sake of American national security (and the enlightened interests of the Israelis as well).
I don’t think anyone in their wildest dreams (even Spielberg himself) ever imagined what “earn this” would actually look like, yet here we are all the same.
So let’s begin, shall we?
First, to lay some important historical groundwork for my newer readers, I believe it’s rather clear by now that a great number of Hollywood studios have deep connections to the Israeli government. This is no longer a “conspiracy theory” but a matter of public record and established fact.
As one of the simpler early examples in this history, Barney Balaban of the Balaban-Katz Theatre Corporation in Chicago and one of Paramount Pictures’ earliest Presidents, was an incredibly influential figure in the early years of the ADL following the foundation of the state of Israel.
It probably should be said from the start that I’m not so naive as to tar any historical organized Jewish involvement with the Israeli government whatsoever as inherently treacherous, but as this history goes on things become far more sinister as the reader will clearly see.
The examples are nearly endless (and easily discoverable) throughout the entirety of Hollywood’s history:
New Regency’s Arnon Milchan was a self-confessed lifelong Israeli spy who we have reasonable grounds to suspect of being party to nuclear espionage - which I might add is a capital crime for which there is no statute of limitations.
Film producer Sydney Pollack trafficked weaponry for the IDF, very similar to the way the National Syndicate ran guns for the Haganah. This appears to have been publicly declared in the press (primarily by Milchan) in an almost celebratory fashion.
When Harvey Weinstein of Miramax/TWC was finally taken down by the #MeToo brigade (what was that all about?) none other than former Israeli Prime Minister Ehud Barak himself connected him with an “army” of “ex”-Mossad spies to run interference. The following clip has recently been making the rounds on TikTok but I still think it’s rather apropos given the above fact.
Most notably as my prior research decisively corroborates, the aforementioned Paramount Pictures was for quite some time deeply connected with the organized crime interests of the “legacy” Chicago mob hand-in-hand with burgeoning (and often-criminal) Israeli elements, both of which have greatly influenced American politics to this day.
(And what was Netanyahu doing visiting Brad Grey’s Paramount anyways? Sort of makes you wonder doesn’t it?)
Charles Bludhorn, the owner of Paramount Pictures after Balaban’s departure (and boss of convicted narcotics trafficker Robert Evans - famous producer of The Godfather and Rosemary’s Baby - also credibly implicated [but not convicted] as an accessory in the murder of Roy Radin by gunshot in the summer of 1983) had a major backer from the Sicilian mob who was later accused of ordering the murder of an Italian prosecutor prior to his mysterious death in prison.
Famously Bludhorn and Evans were close associates of Chicago outfit mob-fixer/Meyer Lansky-protege Sidney Korshak, who head-producer Evans tellingly called “My Godfather and lifelong protector”. Sidney Korshak (who kept an Israeli ex-military detail at his estate in Beverly Hills) and his brother Marshall were also elite B’nai B’rith dignitaries - with great standing in other Israeli causes as well (Marshall was even once honored by 2,500 guests at an Israel Bond ceremony).
I’ve written extensively on this incredibly dark organized-criminal relationship and this overall period of time as well if you care to learn more.
Barry Diller, the next chairman and CEO of Paramount Pictures has held a strictly-for-appearances marriage with an ADL centennial chairwoman for reasons one can only guess by now. Diller brought the undeniably toxic and typically foreign-funded “dating apps” to mainstream American society, and has now been granted an unlimited license by the Nevada Gaming Commission.
Interestingly, Diller recently became the largest shareholder in MGM, following one of the deadliest and most unexplained mass shootings in history, which occurred on an MGM property (whatever happened there). I can go on and on about Diller who you could be forgiven for saying has acted like an agent of the Chinese, but suffice it to say he’s not a particularly great guy.
Historically notable as well that MGM was once run by Dore Schary, another major ADL chairman credibly alleged to be deeply connected with Meyer Lansky’s National Syndicate captain Abner Zwillman.
Brad Grey, producer of The Sopranos and another Paramount CEO was a mentee of previously-convicted rapist Harvey Weinstein, and was even posthumously accused of rape himself (although in his defense, the case has since been thrown out). He was also strangely adjacent to the Pellicano wiretapping scandal.
Whatever the case may be with Grey, I thought this clip below was rather interesting in context, ostensibly a display of Tony Soprano’s character, but more plausibly a reference to the aforementioned Israeli-connected criminal conspiracy so prominently featured in Paramount’s history.
As of this writing Paramount Global looks like it’s going to be sold to David Ellison (update: maybe not?), whose father, another ardent Trump/Netanyahu supporter, was on the private call to contest the results of the 2020 election, an effort which eventually led to the seditious January 6th attack on the capitol building.
Many of these aforementioned individuals/networks (in a roundabout way, alongside the corporate takeover of Las Vegas by Mike Milken’s junk-bond associates) eventually helped lay the groundwork for the meteoric ascent of both the current MAGA GOP and the Likud Party itself.
In case it needs saying, all of this is rather shocking and certainly shouldn’t be tolerated going forward, if only in the public consciousness. It’s almost impossible to imagine what Hollywood’s history would have looked like were it subject to the most basic public scrutiny, or better yet, proper counterintelligence efforts alongside a just application of the law.
The early years of DreamWorks SKG were some of the most interesting, remarkably featuring several collaborations with Paramount under Sherry Lansing (and eventually a brief partnership through Sumner Redstone’s Viacom [Paramount’s parent company] which Spielberg ended in 2008).
I thought the most notable (and admirable) joint creations from this time were Saving Private Ryan and Deep Impact - a film about defending our shared humanity, in which the president ends a worldwide broadcast with a common Jewish prayer from the Book of Numbers.
I submit that this healthier era in Hollywood’s history was largely due to the more amicable state of affairs within Israel itself.
DreamWorks SKG was founded during the Prime Ministership of Labor’s Yitzhak Rabin, perhaps the greatest peacemaker in Israel’s history and co-signatory of the Oslo accords. This was a genuinely different time when peace actually seemed possible, before the total domination of Likud (and its allies) alongside the ascendancy of Hamas, when Israeli citizens could casually visit Gaza for a seaside lunch and return to work later that day. Likewise Palestinians were (not as much as one might like, but all the same) able to enjoy some measure of freedom and neighborly association in the land in which they were born.
For the first 13 years of DreamWorks’ history, there were approximately 10 years of Israeli leadership under Labor, the centrist Kadima, or Sharon’s Labor-Likud-national unity coalition. Curiously, just five months after DreamWorks SKG terminated their brief partnership with Paramount, Netanyahu assumed office a second time and has continued to hold it to this day (barring Yair Lapid’s brief interlude).
If all this doesn’t strike you as remarkable, you just aren’t paying attention.
You have to understand that Hollywood’s Israeli pedigree meant the undercurrents of Israeli politics (and indeed of the American-Israeli “bi-national security state” itself) inevitably shone through in both studio boardrooms as well as the messaging in its productions. It takes a certain type of unusual pattern recognition ability to see it, but once you do it’s unmistakable and you can never unsee it again.
Not for nothing that perhaps the majority of great patriotic or otherwise wholesome films over the last decades have borne the Amblin/DreamWorks production/distribution stamp.
Likewise not for nothing that the lion’s share of criminally-themed or gratuitously violent films bear the production/distribution stamp of Paramount/Miramax/New Regency, and a few others I won’t go into for brevities sake (A24 gets an honorable mention here in my book, founded by the former head of film financing at the Milken-connected Guggenheim Partners and significantly financed by Netanyahu-ally and Soviet-born oligarch Len Blavatnik).
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Am I oversimplifying things? Not really.
Consider the following - the only DreamWorks SKG “mob movie” was Road To Perdition, directed by Sam Mendes (who definitely has no connections to British intelligence), except unlike all the other mob movies it was conversely about taking revenge on the mob, here Al Capone/Frank Nitti’s quasi-fascistic rogue Outfit enforcers from Rock Island, Illinois.
(The film is actually intended as a dark biblical spinoff depicting the redemption of Michael the Archangel [Hanks’ “Mike”] after driving Satan [Daniel Craig’s “Connor”, also definitely not connected to British intelligence] out of God’s kingdom at too high a price [Contemporary Israel seems a rather fitting analogy for our time, doesn’t it?] but those in the know already understand these things so I won’t go into it further here. If you think that’s a crazy theory just see Max Allan Collins’ original text and you’ll come around rather quickly.)
Now to be fair, was Spielberg supported by Cleveland-born mob-cliqued Lew Wasserman when he was first starting out, and did DreamWorks SKG play footsies in their early years with the Bronfman family when they owned MCA (the successors of gangland bootleggers)?
Well sure they did, what were you born yesterday? Rubbing a few unsavory shoulders is inevitable, even today - this is Hollywood after all! But no matter how things came to be, America is the land of redemption/second chances - and Spielberg along with the rest of the American-Jewish deep state have proven it. Just ask Larry David or American hero Jeffrey Epstein.
To put a bow on all this - understand that the USIC allied with the Israelis from the beginning and did so for good reason. Not only do the Israelis (and American Jews) possess a penchant for culture creation, more generally the Israelis also have stellar intelligence capabilities and are able to operate in areas Americans simply can’t by law. While we can remain critical, we shouldn’t begrudge the USIC for playing their hand as they did, indeed it may have been in some narrow sense the correct choice at the time, despite the current (and perhaps-terminal) breakdown in the arrangement.
But to paraphrase Tennyson, the hills themselves are shadows and nothing stands forever - and it’s becoming increasingly unclear whether we can continue to separate Likud the party from Israel the state. While I sincerely hope for the best, I humbly submit that the USIC and the organized Jewish community in the USA should think about their next move in an existentially serious way.
Enough innocent people have died in an attempt to sustain the Likud-Israeli project, and enough American citizens have been victimized and exploited in unlawful ways in the process. Sooner than later, something is going to give. I see DreamWorks (and all other media that follows the same path) as an answer to the problem of cultural revitalization (as well the other malfeasance plaguing Hollywood etc.) once this dark chapter in US/Israeli history finally comes to a close.
So which path will America choose? And will Israel stand with us or against us?
Once you understand these things the choice really is as clear as day. On the most basic level possible, is it any wonder that a generation raised by gangster movies and glorified calls to degeneracy/rampant criminality were eager to sell their nation and their birthright out to foreign-backed criminals?
I for one think Steven Spielberg and his disciples are the true and rightful voices of the next generation. And despite the changing media landscape, no matter what form new media takes his patriotic spirit can and must be kept alive as a matter of national pride, duty, and quite frankly, national security.
No one said taking our country back from the traitors and crooks in our midst would be a walk in the park. But always remember that this is America, the land where the good guys win. And I have a feeling the next generation can “earn this” too.