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Rhodesia Reborn: Zimbabwe Estate Receives a Hero's Welcome as New L. Ron Hubbard Landmark Site

Rhodesia Reborn: Zimbabwe Estate Receives a Hero's Welcome as New L. Ron Hubbard Landmark Site

HARARE, Zimbabwe, July 5, 2025 /PRNewswire/ -- The estate once known as 31 John Plagis Place, Salisbury, Rhodesia—named for its former owner, a decorated World War II flying ace—has once again earned its chapter in history. Located in Harare's Alexandra Park suburb, she is now dedicated as an L. Ron Hubbard Landmark Site, honoring the Scientology Founder, who arrived here in the mid-1960s with a vision destined to echo far beyond Southern Africa.
The nation is now called Zimbabwe—a land where giraffes roam, elephants walk and lions still roar. And on this brilliant, blue-sky day, Scientologists, heritage specialists and local residents gathered to celebrate the generosity of spirit and purpose Mr. Hubbard brought to what he called 'a small jewel in the midst of a howling wilderness.' As the golden ceremonial ribbon fell, streamers flew and crowds toured a site brimming with meaning—now one of global significance for Scientologists everywhere. For here, as Mr. Hubbard himself wrote, 'The adventures were many.'
That legacy lives on through a series of defining milestones achieved inside. Foremost among them: the legendary filmed Clearing Course lectures—mapping a path to spiritual freedom not just for this nation, but for all Mankind. And in that very same room, Mr. Hubbard delivered his only filmed interview, An Introduction to Scientology.
As he advanced Scientology on behalf of humanity, Mr. Hubbard simultaneously took steps to uplift the country. Within days of his arrival here in 1966, he proffered a new Constitution, Bill of Rights and Penal Code—calling for one man, one vote, regardless of race, color or creed. His Alexandra Park address soon became a meeting ground for ministers, cultural figures and diplomats—gathering for what Rhodesians called 'Sundowners,' graceful evening soirees with drinks and conversation. And through it all, Mr. Hubbard was remembered by his staff for the kindness and fairness he brought to every exchange.
Today, this British-Colonial site stands meticulously restored—just as it was during Mr. Hubbard's time. Wallpaper, cabinetry and light fixtures have been matched to archival photographs. Artwork has been recovered. The same typewriters Mr. Hubbard provided his team of typists are faithfully preserved. Among other artifacts on display are the suit he wore while filming his legendary Clearing Course lectures, and even the suitcase he used on his return to England.
Outside, the pool is restored to its classic shape and turquoise color. But it's the stone fireplace inside that may be most breathtaking—both for its beauty and its remarkable journey. A later owner had dismantled it, repurposing the stones into a garden wall. Now they have been recovered by restoration experts, cleaned by hand and dutifully returned to their original, exquisite form—warm observers to countless stories, ready to reveal those moments to all who visit this landmark.
'What we celebrate today speaks to the power of community and the far-reaching impact of L. Ron Hubbard's legacy on people from every station in life,' said the Church of Scientology Preservationist, who officiated the opening and oversaw the site's historical restoration. 'Your presence transforms this day into something truly special ... because this building now stands as a place where you can walk in the very footsteps of L. Ron Hubbard.'
That was the moment leaders from across Zimbabwe took the podium to pay tribute and speak to Mr. Hubbard's lasting significance.
First among them was Ms. Liza Zindoga, President-Elect of the Harare Rotary Club. She recalled that Mr. Hubbard addressed a local branch 59 years ago. 'He spoke not about politics, but about building a new civilization—of lifting barriers to travel, opportunity and prosperity... And they televised his speech across the country. Mr. Hubbard gave us a glimpse of how great this nation could be—a road map to a better Zimbabwe,' she said. 'L. Ron Hubbard is a remarkable man, and the wheels he set in motion still turn today. Our role is clear: to guarantee that what was once shared with a room full of Rotarians now reaches every Zimbabwean who dreams of a better tomorrow.'
Mr. Frans de Klerk, who served as the architect for the landmark's exacting renewal, said that 'when we first stepped onto the site, we saw the chance to revive something that mattered. If ever there was a passion project, this was it. I still remember our team's three-hour drive on sunbaked dirt roads to find the one quarry with the right slate. The heat was relentless, the road nearly undriveable, but the match was perfect—just as Mr. Hubbard would have seen it,' he said. 'Together, across borders and languages, we brought this site back to life. It's a root in the ground—deep, enduring and unmistakably yours.'
Mr. Attwell Mamvuto, Pro-Vice Chancellor at the University of Zimbabwe, acknowledged the timeless influence of L. Ron Hubbard's presence in the country. 'This heritage site is a strong voice—and if you listen closely, it continues to call to the conscience of this nation. At a time when our land was torn between what it was and what it could be, Mr. Hubbard set to work—not with protest, but with pen,' he said. 'His Constitution and Bill of Rights were a gift … and a message that still talks to us. It says: 'We the people of this nation guarantee definite rights under law.' Those were his words—and they are still ours to uphold.'
Bishop Albert Chikuni, President of the Interreligious Association for Peace and Development Zimbabwe, who serves 40 congregations across the region, reflected how 'L. Ron Hubbard did not come to enrich himself—but to enrich others.... We've seen what occurs when people are divided—by politics, by religion, by class. But we've also seen the strength that comes from unity—when differences are set aside in pursuit of a shared future. That is the work of peace,' he said. 'Today we honor the imprint Mr. Hubbard left here at Alexandra Park. If we carry forward his teachings, and the wisdom within these walls, I believe we can create a heaven on Earth.'
Alexandra Park stands as the second L. Ron Hubbard Landmark Site in Southern Africa. The first, his Linksfield Ridge estate overlooking Johannesburg, South Africa, opened in 2005.
All told, there are now nine such Landmark Sites across three continents. These include Bay Head, New Jersey, where Mr. Hubbard wrote Dianetics: The Modern Science of Mental Health—the bestselling book ever on the human mind; and Elizabeth, New Jersey, where he formed the first Dianetics Foundation. Also among the sites is the Founding Church of Scientology that Mr. Hubbard established in Washington, DC; the original Hubbard Communications Office on Fitzroy Street in London, England; and the landmark at the base of Camelback Mountain in Phoenix, Arizona—known as the Birthplace of Scientology. Just two miles from that Phoenix location is yet another site, opened last month, at 4451 East Osborn Road, where he authored Dianetics 55!, and from where he commenced the unification of Dianetics and Scientology. And finally, his Worldwide headquarters at Saint Hill in East Grinstead, England.
Each Landmark Site offers a literal and visual history of the work and advances Mr. Hubbard achieved during the time he was at that particular location. Every site also features a room devoted to the broader story of his global exploration and research—including the pivotal achievements made here at Alexandra Park. Together, these sites trace Mr. Hubbard's progressive steps to the founding of Dianetics and Scientology.
With future Landmark Sites on the horizon, Scientologists the world over will have even more opportunities to walk in Mr. Hubbard's footsteps—his legacy preserved in space, alive in time and destined to inspire for generations to come.
View original content to download multimedia: https://www.prnewswire.com/news-releases/rhodesia-reborn-zimbabwe-estate-receives-a-heros-welcome-as-new-l-ron-hubbard-landmark-site-302498418.html
SOURCE Church of Scientology International
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Embeth Davidtz drew on her childhood in Africa to adapt Alexandra Fuller's memoir
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  • Associated Press

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Is Hollywood inspired by the CIA, or the other way around?
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Miami Herald

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LANGLEY, Va. - At CIA headquarters, beyond the handsome granite seal on its lobby floor and a wall of stars carved in honor of the agency's fallen, experts are at work in the complex tasks of spycraft: weapons-trained officers, computer engineers, virologists, nuclear scientists. But there are also storytellers, makeup artists, theater majors and ballerinas - Americans who probably never thought their skills would match the needs of a spy agency. Yet the CIA thought otherwise. Though it rarely gets the spotlight, there's a revolving door of talent between the country's premiere intelligence agency and its entertainment industry, with inspiration and influence often working both ways. The agency is targeting professionals at the intersection of arts and technology for recruitment, CIA officers told The Times, and continues to cooperate with entertainment giants to inspire the next generation of creative spies. 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Indeed, in the 1950s, a magician from New York named John Mulholland was secretly contracted with the agency to write a manual for Cold War spies on trickery and deception. These days, the officers said, creative skills are more valuable than ever in such a technologically complex world. "You're only limited by your own imagination - don't self-censor your ideas," said Janelle, a CIA public affairs officer, granted the ability to speak under her first name at the request of the agency. "We're always looking for partners." An elusive history David McCloskey, a former CIA analyst and author of "Damascus Station" and other spy thrillers, offered several theories on why the agency might be interested in fostering a robust relationship with Hollywood, calling it "a two-way street." "There definitely have been operational applications for espionage," McCloskey said. "It's probably the exception to the rule, but when it happens, it's compelling." It's easy to see why CIA leaders would be interested in Hollywood, he said, in part to shape impressions of the agency. "But their bread and butter business is receiving people to give secrets," he continued, "and part of that is getting close to people in power." "The closer you are to Hollywood," McCloskey added, "that's a really interesting 'in' to having a lot of interesting conversations." Some of the CIA's most iconic missions - at least the declassified ones - document the agency's rich history with Hollywood, including Canadian Caper, when CIA operatives disguised themselves as a film crew to rescue six American diplomats in Tehran during the Iran hostage crisis, an operation moviegoers will recognize as the plot of "Argo." "'Argo' was almost too far-fetched to even believe," said Brent, an in-house historian at CIA headquarters. "It's almost more Hollywood than Hollywood." Canadian Caper was both inspired by Hollywood and relied on Hollywood talent. 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And another mission was made possible thanks to a device invented by a professional photographer - a gadget that later became the inspiration of an over-the-top scene in the blockbuster Batman film "The Dark Knight." In Project Coldfeet, CIA agents gathering intelligence on a Soviet station erected on a precariously drifting sheet of ice in the Arctic needed a reliable extraction plan. But how does one pick up an agent without landing a plane on the ice? The answer was the "skyhook": Balloons lifted a tether attached to a harness worn by an agent high into the sky. A CIA plane snagged the tether and carried the agent off to safety. In "The Dark Knight," Batman makes a dramatic escape deploying the same kind of balloon-harness contraption. 'The superhero spy' CIA leadership often says that acceptance into the agency is harder than getting into Harvard and Yale combined. Yet the agency still has challenges recruiting the type of talent it is looking for - either in reaching those with unconventional skills, or in convincing them that they should leave secure, comparatively well-paid, comfortable jobs for a secretive life of public service. It is no easy task managing work at the agency, especially with family, CIA officials acknowledged. Deciding if and when to share one's true identity with their children is a regular struggle. But Janelle said the CIA tells potential recruits there is a middle ground that doesn't require them to entirely abandon their existing lives. "People don't have to leave their companies to help their country and to work with CIA," Janelle said. "People come here because they love their country and know they can make a difference." Janelle is part of a team that regularly engages with creatives who want to portray the agency or spies as accurately as possible. "Some producers and directors reach out and they do care about accuracy," Janelle said, "but they ultimately pick and choose what's going to work for the film or show." CIA analysts have also been known to leave the agency for opportunities in the entertainment industry, writing books and scripts drawing from their experiences - so long as they don't track too closely with those experiences. Joe Weisberg, the writer and producer behind the television series "The Americans," and McCloskey, who is working on a fifth novel focused on U.S. and British intelligence, were both part of the agency before launching their writing careers. And as CIA alumni, they had to submit their works for review. "There's a whole publication and classification-review process," Brent said. That process can be a bit of a slog, McCloskey said: "They quite literally redact in black ink." But it is far more difficult for nonfiction writers than novelists. "There could be bits of tradecraft, or alluding to assets, or people at the agency, which are clear no's," McCloskey said. "But with novels, it's not that hard to write them in a way to get them through the review board." Try as they may, studios often repeat the same falsehoods about the CIA, no matter how often they are corrected. Officers and agents aren't the same thing, for one. And as disappointing as it may be for lovers of spy thrillers, the majority of officers are not licensed or trained to carry weapons. "One thing Hollywood often gets wrong is the idea that it's one officer doing everything, when it's really a team sport here," Janelle said. "Zero Dark Thirty," an Oscar-winning film released in 2012 about the hunt for al-Qaida leader Osama bin Laden, was widely acclaimed but criticized by some within the intelligence community over the credit it lends a single, fictional CIA analyst for tracking him down. McCloskey sympathizes with the writer's dilemma. "I can't have 35 people on a team. From a storytelling standpoint, it just doesn't work," he said, acknowledging that little in the field of espionage is accurately captured on screen, even though there are plenty of former spies available to work as consultants. "There's no lack of sources to get it right," he said. "It's that the superhero spy - the Jack Ryans and Jason Bournes - are pretty much the Hollywood representation of espionage." However inaccurately glorified and dramatized, the agency hopes that Hollywood's work can keep the revolving door moving, inspiring atypical talent to join its ranks. "We have architects, carpenters, people who worked in logistics," Brent said. "People might not realize the range of skill sets here at CIA." And as Canadian Caper showed, sometimes spycraft requires stagecraft. It's possible that what's needed most to complete the next mission won't be oceanography or data mining, but costume design. Or maybe another ballerina. Copyright (C) 2025, Tribune Content Agency, LLC. Portions copyrighted by the respective providers.

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