OCCULT ARTIST: No Thanx, Tom Hanx

America's Most Subversive Actor?

“Have you ever had a really big secret?” Let’s all root for Hollywood’s darkest secrets to be revealed. It’ll be a helluva thing.

[The majority of this article was originally published on Medium Dec 28, 2019 ; it was censored and removed from the anti-free speech Medium platform June 30, 2021.]

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“In 2005, an intern of Tom Hanks' agent made fun of him at a Hollywood party / Tom Hanks found out and threatened to leave the agency / The intern was fired and his agent begged Tom to stay / Tom said that it wasn't enough, his agent needed to prove they were still loyal / Tom said: You must kill Heath Ledger." — the late Trevor Moore, “Tom Hanks is an Asshole”

“Don’t judge me by what I say, judge me by what I do.” — Hanx

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To paraphrase France’s King Louis XVI, Take Two: “Apres Tom Hanks, le deluge?”

How little did I know when I first typed those words back during the holiday season of 2019, still under the intoxicating “Where we go one, we go all” psyop throes of the “Q” movement. Back then, I naively and childishly thought the world was run by a big-“E” Evil psychopathic globalist cabal of dark occult blood-drinking child rapists who were on the verge of getting mass arrested and/or executed.

Five-plus years later, I still believe all that. Except for the mass arrests part.

Back in late 2019, “Q” kept promising his (her?) foolish flock — of which I was a conned congregant — that “the first arrest will shock the world,” and that Hollywood was “going to burn.” I had a hankering that the much-whispered about (and often louder than whispers) Hollywood harem-hosting “Hanx” (allegedly) would be the first A-List “name” to be arrested for sex crimes and maybe worse.

At the time, Fall-into-Winter 2019, there had been a ton of escalating chatter across social media that good ol’ Tom Hanks, our long-time Bosom Buddy of benevolence and literal Mr. Rogers stand-in, was actually IRL one sick psycho creep and about to take a “BIG” fall.

Sounded exciting! Silly me. This isn’t a game. I had no idea what a War of Magicians (or is it Mystics vs. Magicians? Wizards vs. Sorcerers? Luciferians vs. Molochians? All of the above?) really meant. Nor was I close to grokking how deeply integrated and intertwined the corruption and mass messaging schemes of those who’ve sold their souls. So of course I got outsmarted.

As it turned out, Hanx WAS a harbinger of horrors, just not the one I was expecting. Hanx and his Mrs., Rita Wilson, were the first high-profile celebrity “victims” to get Covid, while shooting what turned out to be Baz Luhrman’s exhilarating Elvis biopic in Australia.

Up to that point, Covid was mostly a shrug culturally, despite corporate media’s panicked hyperventilating. But we got the double whammy on March 11, 2020: The World Health Organization declared Covid a worldwide pandemic and Hanx announced he and the Mrs. caught it. Four days later, March 15, the USA lockdowns began.

According to the controlled corrupt collectivist corporate criminal clown media, nothing changed The Narrative around the Covid virus more than Hanx getting it. Don’t believe me? Dig this:

VANITY FAIR: “How Tom Hanks Became the Avatar of our Pandemic Year…His name is synonymous with the day Americans started to take the virus seriously — and, true to form, he made good use of his symbolic status.”

WASHINGTON POST: “Why Tom Hanks getting Coronavirus hits home: Now we all have someone we love diagnosed…It is often said that we don’t fully accept reality until it affects us, or someone we know personally…If a big celebrity and his wife are vulnerable, so are the rest of us…”

STUFF: “Tom Hanks' Covid-19 battle changed the way Americans viewed the virus…People felt that Hanks’ diagnosis highlighted the reality of Covid-19, forcing them to broaden their understanding of the virus...”

PENN STATE WHITE PAPER: “Tom Hanks' COVID-19 diagnosis likely shaped behaviors and thoughts toward the virus…Celebrity behavior and social media posts can affect public health…People who had heard the news reported Hanks’ diagnosis highlighted the reality of COVID-19 and broadened their understanding of not only the severity of the situation, but also their susceptibility to the illness…”

NATIONAL INSTITUTE OF HEALTH (NIH)’s LIBRARY OF MEDICINE WHITE PAPER: “The Celebrity Canary in the Coal Mine for the Coronavirus: An examination of celebrity illness disclosure effects…Findings revealed stronger perceptions of COVID as a threat after learning of Hanks’ diagnosis, [as well as] stronger willingness to enact prevention behaviors [like vaccines].”

Hanx literally changed the country’s perception of Covid. That’s Power. That’s Magick! So let’s do our best to snap that Holly Wood wand, shall we?

There’s more (The New York Times, TIME ragazine, CNN, etc.); Hanx was all over the corrupt Covid “news.” A classic full-court-press fear-mongering Mediagasm from pharma-beholden corporate media (13% of all advertising is pharma; 75% of all 24/7 cable news networks’ television advertising), with more data backup via a pair of scientific and research journals from Penn State and NIH.

So, as it turned out, “Apres Hanx, le deluge!” indeed. Just not in the way I figured, or would’ve preferred. Holly Wood stage player Hanx ultimately surfed his own fate, inverting my false (or maybe just mis-targeted?) pseudo-prophecy. Fulfilling my words, maybe, but not in deed, Hanx out-magicked me, a Master of his own domain. Hey, I’m an amateur. Unless I’m a savant. “Hocus Pocus, Abracadabra, Alakazam, Presto-Chango, Bibbidi-Bobbidi-Boo!” Ain’t that how it goes, Doc?

Anyway, as I’d been trying to persuade people on Medium (and at Adland, before it got killed by Brimstone…er, Bridgestone Tires), Holly Wood is — or at least has been until very recently — primarily a nefarious propaganda platform rooted in the dark occult. Law of Inversion Land. IMHO, The Town is run by psychopathic globalist pedophiles and other assorted blasphemers and blackmailers, intending to stultify the masses and break their Spirit.

Thus, if that’s the case, if we’re dealing with smoke-and-mirrors flat Earth bullshit, loaded with top-tier phonies devoted to “looking good while doing evil,” then wouldn’t it make sense that the most All-American, down-to-earth, affable, likable guy in Town would actually be…the Worst Person Imaginable®?

Like I said, seems crazy. Sounds crazy. Tom Hanks is the best, right? Right?

Or…Or…has Tom Hanks’ entire career been an attempt to use an Everyman Jimmy Stewart persona to subtly (and sometimes not so subtly) introduce transgressive ideas and behaviors to the populace through sinister subconscious mental programming?

Let’s go to Hanx’s IMDB entry. Upon it we find a ton of movies that I’ve liked a lot, yet when we follow the dots backwards over the past four decades, the image that emerges ain’t pretty. Back, back, back, all the way back to the year I graduated high school.

Big break, 1980: Bosom Buddies — Hanx’s first major role that put him on the map was an ol’ “Law of Inversion” standby: A crossdressing comedy that put him in a dress more than pants. Making drag queens/cross-dressers/transsexuality cool, or at least good-naturedly comical. The sitcom aired on ABC, natch.

1982: Mazes & Monsters — After Bosom Buddies was cancelled after two seasons, Hanx appeared in this very popular TV movie that parlayed the “Dungeons & Dragons” craze into a creepy “Satanic Panic” story about a guy who goes so deep into the game that he can no longer discern reality from fantasy. This is precisely the societal narrative CIA wants to create.

1984: Splash — Hanx plays a New Yorker who falls in love with a mermaid. I’ve not dug into the whole mermaid mythos, but it seems to be popping up a lot in the past couple years. Some esoteric theorists suggest the mermaid myth is where the trans movement is rooted.

Once Upon A Time…Ron Howard’s romantic comedy fantasy Splash starring Hanx and Daryl Hannah had more nudity than all other Disney films combined (tho most certainly for a noteworthy subject). But in 2020 the rat kingdom censored all the film’s nude scenes, integrating “bizarre CGI hair” and “cropped perspectives.” Civilization was rescued!

1984: Bachelor Party — Bestiality, played for laughs! Plus a bunch of other weird shit. I did laugh, though.

1985: The Man With One Red Shoe — Take it or leave it.

1987: Dragnet — Another “Satanic Panic” mockery. This comic takeoff on the classic dead-serious “just the facts, ma’am” procedural cop show turns its iconic law enforcement characters into one long joke, while simultaneously mocking the concept of a broader dark occult conspiracy.

1988: BIG — The role that propelled Hanx to superduperstardom in Holly Wood also carries a ton of creepy subtext, like the fact its romance pivots on a 30-something professional woman sleeping with a 12-year old in a grown-up’s body. Pedophilia-lite!

1992: A League of Their Own — Promotes the faux premise “Anything a man can do, a woman can do equally well.” This is sometimes the case. Sometimes it is not. Professional baseball is not.

1992: Radio Flyer — An uncredited Hanx plays the grown-up version of the story’s child protagonist, in a twisted fantasy film where viewers gradually realize the “fantasy” story is the kid’s psyche splintering from the fact he’s being physically abused at home.

1993: Philadelphia — Hanx normalized the AIDS crisis by playing a smart, lovable, artistic, disciplined, domesticated gay man stricken with the disease, not a promiscuously wanton bath house bouncing sex freak.

1994: Forrest Gump — This one’s particularly insidious to the USA mythos. It turns the quintessential iconic white male American hero into a retard.

1995: Toy Story and its sequels — Hanx is “Woody” and we all know what that’s a sly double entendre for (don’t we?). Well beyond super-creepy step-daughter seducing weirdo Woody Allen, Holly Wood’s been sneaking adult sex jokes into kids’ cartoons about “Woody” for a looooong time.

Apollo 13 (1995) and From the Earth to the Moon (1998) — There’s a bunch of shady shit and modern myth in the NASA space program, let’s leave it at that. For now.

Saving Private Ryan (1998) and Band of Brothers (2001) — All-American WW2 movie and miniseries, one after the other, building a patriotic narrative perfectly before the 9/11 attacks. HBO’s final episode of Band of Brothers aired exactly one week prior to September 11, 2001.

1999: The Green Mile — The plot of this Stephen King adaptation hinges upon a pedophile who gets a job for a farming family. He rapes and murders two little white girls, then frames a black man — since the majority of pedos are white dudes, this sure sounds like a wish-fulfillment fantasy.

2000: Castaway — We’ve got the demonic looking Wilson volleyball. Which looks like the devilish logo on sweatshirts worn by Ellen Degenerate and Jay-Z. All three of which resemble the late Jean-Michel Basquiat’s ugly AAAAAA artwork, the title of which might replicate the agonized gurgling sound a victim makes while you’re cutting the skin off their face in a subterranean torture chamber on Epstein Island.

But is it Art?

2002: The Road to Perdition — Hey, I didn’t make up the title.

2002: Catch Me If You Can — Lotta baggage to this one that I’ll not address today (or ever), but the title is about as blatant a piece of Holly Wood mockery of the masses as you’ll find.

2004: The Polar Express — The first “motion capture” animated film set the foundation for attempting an “uncanny valley” replacement of actors with technically created digital stand-ins. After making this creepy Christmas movie a big hit, however, filmgoers rejected the cold tech.

2004: The Terminal/The Ladykillers/Elvis Has Left the Building — Say, aren’t all three of those titles euphemisms for death?

2006–2016: The DaVinci Code/Angels & Demons/Inferno — Trilogy of Dan Brown controlled opposition, limited hangout, dumbed-down occult reveals for the multiplex, all directed by Opie, an island “grandpa” who’s got skeletons of his own.

2007: Charlie Wilson’s War — CIA connected Congressman creates “freedom fighters” in Afghanistan (who later turn into anti-American terrorists) and it’s AWESOME!

2011: Extremely Loud & Incredibly Close — Reinforces the bullshit 9/11 “Official Story™” myth.

2013: Captain Phillips — Another totally bizarre fake Holly Wood “Based on a true story” piece of Oscar-bait that turns its titular power-mad nutcase villain, who practically got his entire ship’s crew killed, into a hero. No idea WTF was going on with this movie; it’s deeply Evil.

Of all the weird, wild, seriously fucked-up Hanx movies, none is more darkly inverted than Captain Phillips. IRL, the crew sued Phillips and the shipowner, claiming that despite warnings and documented pirate activities, Phillips ignored crucial information and intentionally sailed into dangerous waters without proper security. Some crew members claimed Phillips had a death wish, was mentally unbalanced and had a perverse desire to be taken hostage. The case was settled out of court.

2013: Saving Mr. Banks — Disney is AWESOME!

2015: Bridge of Spies — The OSS/CIA is AWESOME!

2016: A Hologram for the King — Saudi Arabia is AWESOME!

2017: The Circle — Fictionalized Facebook/Google/Amazon stand-in is going to take over the world; resistance is futile, so just give up.

2017: The Post — As the #FakeNews battle was gearing up in President Orange’s first year of his first term, this smug insufferable Steven Spielberg lecture buttressed the Fugazi belief that The Washington Post is a heroic and trustworthy newspaper, not a tool of CIA and bald Blofeld-ian bag o’ bile Jeff Bezos. Plus, y’know, a meaty role for Meryl Streep. Yup, first-to-her-feet-for-Roman Polanski Meryl Streep.

2016: “David S. Pumpkins” — I could spend an entire column deconstructing this strange SNL thing. Maybe I will someday. Wonder what the “S” stands for?

2019: A Beautiful Day In the Neighborhood — Everybody loves Mr. Rogers. Don’t we? So now we love Hanx even more!

Fred Rogers, left, and Hanx. Not to destroy every single thing you once held sacred, but I was always perplexed by the oft-repeated anecdote about Mr. Rogers and his post-9/11 stories to console children. He told youngsters that whenever something scary happened, children should make sure to focus on the good people who are running to help, not the others running away. Of course, anyone who knows terrorist strategy knows that terrorist acts pursuing maximum casualties often use a smaller detonation event to draw these “helpers” closer, followed by a much larger and more damaging explosion or other type of demoralizing assault. Like on 9/11.

After the Medium article ran, I was bemused by Hanx’s next three film roles in 2020, a couple of which felt less subversive than usual and I enjoyed. Greyhound is probably the best, a tight terrific 90 minute WW2 thriller about a cat’n’mouse subs-vs.-ships Atlantic crossing, with a memorable musical score. News of the World was a nice platonic kiss to the importance of journalism (tho the subtext of an older man traveling with a young girl is something I don’t want to think about, esp when the older guy is Hanx). Finch was one of those “robot seeking a soul” stories and I hate that shit, so I made sure to miss it.

After a year off during the fake pandemic, 2022 brought us Hanx in a fat suit as the villainous Col. Tom Parker in Elvis, probably the role that got him the most contemptuous reviews of his career, but I wasn’t among them. Later that year, he played Geppetto in sad washed-up Robert Zemeckis’s atrocious live action remake of Disney’s Pinocchio, generally considered among the worst movies of that year. Finally, looking for a 2022 Best Actor Oscar nom that didn’t materialize at the end of the year, A Man Called Otto was an inferior remake of Sweden’s A Man Called Ove, transmogrified into an American parable for “modern audiences” about how old white guys should welcome our Hispanic replacements.

Most recently at the end of 2024, we got the catastrophic SFX-heavy box office bomb Here, directed by really pathetic past-his-sell-by-date give-us-a-rest-already Robert Zemeckis again. It was another American parable for “modern audiences,” about how old white guys should welcome our black replacements.

Basically, Hanx has not had the lead role in a hit film in a decade, since director Clint Eastwood’s 2016 Sully. Considering all I’ve seen regarding Hanx’s acting career, it makes me wonder if maybe the National Transportation Safety Board was on to something in their suspicions that heroic pilot Chesley "Sully" Sullenberger maybe wasn’t that heroic. What would Captain Phillips say, eh?

Three of a Kind? But what kind?

I’ve not included all of Hanx’s films, and I’m sure a bunch of you will consider some of these (all of these?) a stretch. That’s fine. IMHO, Hanx has been an entertainment “asset” and propaganda weapon for many years, and was groomed for his stardom (“star dumb”?).

Maybe I’m wrong! But he’s sure catching a ton of shit on Twitter at the moment, and nobody’s getting tossed from the platform (EDIT UPDATE: Hanx hasn’t posted on Xwitter since 2020 because every time he did so, he’d get buried in criminal accusations and mockery; he’s still on Insta, but has snuffed the ability to reply to his posts). Not to mention Hanx became an honorary Greek citizen, which would make him more difficult to extradite, should shit go sideways.

But hey, it’s all tenuous. Pure speculation. A “conspiracy theory” if you will (and I’m sure many will). Hanx is undeniably one of America’s greatest living actors, gifted with a wide emotional range, who can play comic or dramatic equally well. He’s top notch at pretending to be someone he’s not. Moreover, I love That Thing You Do, the ebullient 1960s pop music film he wrote, directed and co-starred in; it’s a wonderful creative accomplishment, certainly head and shoulders above anything I’ve accomplished in my life.

For decades, Hanx was the rare mix of legit actor and legit Movie Star: He could “open” a movie for the masses but also win Oscars for his talent. A rare breed. A lofty member of Holly Wood “aristocracy,” no question. He’s been able to convince people he’s somebody else many times, for many years. He certainly convinced us he’s all-American “Tom Hanks.”

But what about Hanx? Who is Hanx, really? And has the American Apocalypse at last reached the infection point where we’re finally ready to learn some really big secrets?

Hanx has got to know divisive racist stuff like this ugly SNL “Black Jeopardy” skit is poison to his “personal brand” during the current cultural climate change. Yet he either can’t help himself, or is so deeply compromised he has to do what he’s told. That's all I have to say about that.