Tag Archives: media

Media Lies Fuel Phony Ukraine Narrative

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By Patrick Henningsen

Source: Ron Paul Institute

The idea that Ukraine and Zelensky are going to “win the war” is an absolute fantasy. It’s delusional in the extreme. And yet, so many in the West have been conditioned to really believe it.

If you are getting your narrative and information from mainstream media in a NATO nation, then my heart goes out to you. Understand that your externalized reality on this war is nothing more than a testament to the power of western propaganda. We have a state-of-the-art consensus reality machine which would make Goebbels’ head spin, and makes Stalin’s Pravda look like Nickelodeon.

Much closer to the truth is this: Ukraine is not just losing, but they are setting themselves up for a historical downthrow. If Russian Ministry of Defense dailies are even partly true (most of these are backed up by visual evidence as well), then at the current clip of 200-300 per day of Ukraine Armed Forces lost in combat may, very soon, approach the level of US soldier losses in Vietnam. In just 6 months. Mind you, it took the US ten years to lose an estimated 56,000 troops in that fruitless war of attrition.

It is becoming clearer every day that the Ukraine Armed Forces seem to have a policy of either not counting their dead, or counting them as AWOL, so as to avoid a collapse in military morale (and more actual deserters), and the inevitable international and domestic fallout from having to announce that they have 20,000 or 30,000 dead soldiers, many of whom were untrained, under equipped frontline fodder – forced into conscription by a desperate Zelensky regime eager to please his new funding sources in Washington and Brussels. If their true numbers were announced publicly each week, what do you think would happen to US, UK and EU support for Zelensky and his Nazi brigades? And how long would Ukrainians support NATO’s arm’s length proxy meat grinder war? Not long at all. It would be over yesterday.

Like the actor Zelensky, our governments are also selling a packaged fantasy to their public. Support for a losing war would end in a heartbeat should the true state of affairs become the consensus reality in the West.

When the fighting eventually stops, perhaps the smartest men in the room will then be the estimated 5,ooo Ukrainian soldiers who have already surrendered to Russian and DPR forces. Fortunate will be those who walked away from their western puppet’s deteriorating, ego-driven suicidal debacle.

The likely numbers we are looking at here across the board are simply unprecedented in recent modern conflict, and each and every data point confounds each and every fanciful, postmodernist projection coming out of our corrupt, self-reverential western mainstream media and parroting politicians who are quite clearly feeding off their own propaganda entrails now. It’s beyond disgusting. Sorry to be blunt here, but this is fast becoming the biggest propaganda bubble in the history of western military adventurism.

And that’s saying something.

And don’t expect a mea culpa from the gaggle of charlatans we have running foreign and “defense” policy in the US, UK, mutton Europe, and the rest of the supine NATO backwater nations. They will simply double-down and continue attacking any dissenters to their fanatical party line, believing that crushing free speech and debate will somehow help keep their propaganda bubble from deflating faster than it already is.

Sure, it’s an exercise in futility, but it’s one we’ve sadly come to expect from the legion of incompetent globalist bureaucrats and technocrats with a track record of repeated failures whose only real accomplishment has been to blow trillions in public money on systematically wrecking other countries, and always under some contrived moral imperative. By the way, besides being the most corrupt society and government in the western orbit, as it stands now, Ukraine is much, much further from being an independent, sovereign and free “democracy” than Russia is.

The longer the geniuses at NATO and our media continue fueling their proxy war of attrition, the more territory Kiev is going to lose. And whatever they lose, they will never get back. That’s for the simple reason that the people in those regions do not want to live in a wildly corrupt and western controlled, Nazi-ridden sectarian basket case of a failed state.

So the next time to hear someone trumpeting, “I Stand with Ukraine!”, just stop and ask them:

“Where would you draw that line on how many dead Ukrainian soldiers until we call it quits? How much territory will Kiev have to lose before we say that’s enough?”

And don’t let them go until they give you a coherent answer.

Paul Mason Says Bellingcat Launders Information For Western Intelligence

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By Caitlin Johnstone

Source: CaitlinJohnstone.com

The Grayzone has published leaked email communications between faux-left British commentator and aspiring parliamentarian Paul Mason and a shady intelligence contractor named Amil Khan which plainly shows the two plotting to use state power to subvert anti-imperialist media outlets like Consortium News and Grayzone, as well as “far left rogue academics” and the broader left more generally.

Mason has obliquely authenticated the contents of the emails with a weird, rambling Medium post claiming to have been victimized by a “Russian hack-and-leak operation.” The post does not deny the veracity of the emails. Instead, Mason bizarrely claims that they “may be altered or faked,” as though they are not his own personal communications whose accuracy he could instantly deny if they were altered or faked in any way.

This is the same as verifying the emails and then yelling “But look over there! It’s Putin!”

It would take a very silly person indeed to look at a bunch of authenticated emails showing a major British media figure conspiring with an intelligence contractor to subvert the antiwar left, and then conclude that the correct response to this would be to get angry at the Russians.

There will probably be a lot written about these leaks in the coming days, but for now I’d like to focus on the fact that, in these private communications between a media insider and an intelligence insider, the “independent investigative journalism” outlet known as Bellingcat is described as a “proxy” for western intelligence agencies and is said to receive “a steady stream of intel” from them.

“Just as Bellingcat get a steady stream of intel from Western agencies, I suspect the attacks on you and others are fed by Russian and Chinese intel,” Mason is seen telling Khan, who has been the subject of a previous Grayzone exposé.

On the team of spinmeisters Mason and Khan were plotting to assemble to undermine anti-imperialist media, Mason said that “what it really also needs is intel service input by proxy – eg Bellingcat.” Which certainly reads like an explicit call to work with western intelligence agencies to take down his perceived enemies on the left.

“Khan – a long-time advocate and associate of [Bellingcat] – did not once challenge Mason’s repeated characterization of the supposed citizen journalist collective as a clearing house for friendly spy agencies,” write Grayzone’s Kit Klarenberg and Max Blumenthal.

As of this writing there has been little in the way of denial from Bellingcat of those claims the closet CIA fan Paul Mason made when he believed he was communicating in privacy. The Twitter page of its executive director and founder Eliot Higgins tweeted, “I see the Gray Zone has acquired even more hacked emails, I wonder who keeps providing them with those, hmmmm.”

When asked by a commenter if intelligence agencies leak information to Bellingcat, Higgins replied, “No and never,” which he then immediately retreated from when pressed, saying instead, “Well if we use sources that aren’t open sources we’ll use multiple independent sources to acquire the same or related data and triangulate the data to confirm its authenticity.”

Which is a mighty long pace from “No and never,” if you look at it. It’s saying well if we do get information from someone who might work for an intelligence agency, we’ll use “related data” from other sources (who themselves may or may not also have intelligence ties) to “confirm” it.

People would be well advised to take anything Higgins says about his operation with a large grain of salt. In 2016 he dismissed the suggestion that his operation is funded by the CIA cutout known as the National Endowment for Democracy (NED) with a “Stop reading conspiracy websites.” Less than a year later he admitted when pressed that Bellingcat does indeed receive funding from NED.

This is not the first time it has been claimed that Bellingcat operates as a proxy for western intelligence information laundering, nor the second, nor the third. As Alan MacLeod documented last year for Mintpress News, there was already a mountain of evidence that the “independent” narrative management firm celebrated and beloved by the western political/media class operates as a proxy of the western intelligence cartel. Mason and Khan’s communications are just one more piece on the pile.

Western intelligence agencies have numerous pathways through which they can get information, misinformation and disinformation into the mainstream press without people noticing that the news media are publishing government propaganda. Mason’s emails are yet more evidence that Bellingcat is one such pipeline for intelligence cartel psyops.

If there’s something the cartel wants published, they launder it through proxies like Bellingcat and then the news media run it saying it’s been verified by an “independent” “OSINT” service. And presto, you’ve got yourself some good old fashioned Langley-cooked spook propaganda.

This doesn’t mean that everything Bellingcat publishes is entirely false (the best propaganda is generally a mixture of truth with half-truth, distortion, lies by omission, and the removal of context and perspective), it just means it’s generally untrustworthy. Because it operates at the direction, knowingly or unknowingly, of sociopathic government agencies whose only interest is in domination and control.

If the term “information laundering” sounds familiar to you, it might be because you heard it used in the news, like during the George W Bush administration when Dick Cheney’s inner circle was leaking false claims about Iraq to The New York Times, “verifying” that information when contacted to confirm it, and then citing those false news reports when continuing to make the case for invasion.

The term might also sound familiar to you because information laundering was the subject of the much-ridiculed Mary Poppins jingle sung by notorious imperial narrative manager Nina Jankowicz, who also featured in the Grayzone report. Apparently Mason contacted Khan in outrage over a Consortium News piece disputing the official imperial Ukraine narrative, and Khan reached out to Jankowicz for advise on what to do.

Jankowitz told Khan that Consortium was a case of “useful idiots rather than funding,” meaning it’s not paid by the Kremlin it just publishes things that empire managers don’t like. Khan then told Mason that there was a highly suspicious gap in Consortium News publications between 2005 and 2011, which Consortium editor Joe Lauria explained in The Grayzone piece was apparently the result of Khan not doing basic fact checking and not understanding how the internet works.

Lovely.

Sing it with me now:

“It’s how you hide a little, hide a little lie! It’s how you hide a little, hide a little lie!”

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Pop Culture Has Become an Oligopoly

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By Adam Mastroianni

Source: Experimental History

You may have noticed that every popular movie these days is a remake, reboot, sequel, spinoff, or cinematic universe expansion. In 2021, only one of the ten top-grossing films––the Ryan Reynolds vehicle Free Guy––was an original. There were only two originals in 2020’s top 10, and none at all in 2019.

People blame this trend on greedy movie studios or dumb moviegoers or competition from Netflix or humanity running out of ideas. Some say it’s a sign of the end of movies. Others claim there’s nothing new about this at all.

Some of these explanations are flat-out wrong; others may contain a nugget of truth. But all of them are incomplete, because this isn’t just happening in movies. In every corner of pop culture––movies, TV, music, books, and video games––a smaller and smaller cartel of superstars is claiming a larger and larger share of the market. What used to be winners-take-some has grown into winners-take-most and is now verging on winners-take-all. The (very silly) word for this oligopoly, like a monopoly but with a few players instead of just one.

I’m inherently skeptical of big claims about historical shifts. I recently published a paper showing that people overestimate how much public opinion has changed over the past 50 years, so naturally I’m on the lookout for similar biases here. But this shift is not an illusion. It’s big, it’s been going on for decades, and it’s happening everywhere you look. So let’s get to the bottom of it.

(Data and code available here.)

Movies 

At the top of the box office charts, original films have gone extinct. 

I looked at the 20 top-grossing movies going all the way back to 1977 (source), and I coded whether each was part of what film scholars call a “multiplicity”—sequels, prequels, franchises, spin-offs, cinematic universe expansions, etc. This required some judgment calls. Lots of movies are based on books and TV shows, but I only counted them as multiplicities if they were related to a previous movie. So 1990’s Teenage Mutant Ninja Turtles doesn’t get coded as a multiplicity, but 1991’s Teenage Mutant Ninja Turtles II: The Secret of the Ooze does, and so does the 2014 Teenage Mutant Ninja Turtles remake. I also probably missed a few multiplicities, especially in earlier decades, since sometimes it’s not obvious that a movie has some connection to an earlier movie.

Regardless, the shift is gigantic. Until the year 2000, about 25% of top-grossing movies were prequels, sequels, spinoffs, remakes, reboots, or cinematic universe expansions. Since 2010, it’s been over 50% ever year. In recent years, it’s been close to 100%.

Original movies just aren’t popular anymore, if they even get made in the first place.

Top movies have also recently started taking a larger chunk of the market. I extracted the revenue of the top 20 movies and divided it by the total revenue of the top 200 movies, going all the way back to 1986 (source). The top 20 movies captured about 40% of all revenue until 2015, when they started gobbling up even more.

Television

Thanks to cable and streaming, there’s way more stuff on TV today than there was 50 years ago. So it would make sense if a few shows ruled the early decades of TV, and now new shows constantly displace each other at the top of the viewership charts.

Instead, the opposite has happened. I pulled the top 30 most-viewed TV shows from 1950 to 2019 (source) and found that fewer and fewer franchises rule a larger and larger share of the airwaves. In fact, since 2000, about a third of the top 30 most-viewed shows are either spinoffs of other shows in the top 30 (e.g., CSI and CSI: Miami) or multiple broadcasts of the same show (e.g., American Idol on Monday and American Idol on Wednesday). 

Two caveats to this data. First, I’m probably slightly undercounting multiplicities from earlier decades, where the connections between shows might be harder for a modern viewer like me to understand––maybe one guy hosted multiple different shows, for example. And second, the Nielsen ratings I’m using only recently started accurately measuring viewership on streaming platforms. But even in 2019, only 14% of viewing time was spent on streaming, so this data isn’t missing much.

Music

It used to be that a few hitmakers ruled the charts––The Beatles, The Eagles, Michael Jackson––while today it’s a free-for-all, right?

Nope. A data scientist named Azhad Syed has done the analysis, and he finds that the number of artists on the Billboard Hot 100 has been decreasing for decades.

And since 2000, the number of hits per artist on the Hot 100 has been increasing. 

(Azhad says he’s looking for a job––you should hire him!)

A smaller group of artists tops the charts, and they produce more of the chart-toppers. Music, too, has become an oligopoly.

Books

Literature feels like a different world than movies, TV, and music, and yet the trend is the same.

Using LiteraryHub’s list of the top 10 bestselling books for every year from 1919 to 2017, I found that the oligopoly has come to book publishing as well. There are a couple ways we can look at this. First, we can look at the percentage of repeat authors in the top 10––that is, the number of books in the top 10 that were written by an author with another book in the top 10.

It used to be pretty rare for one author to have multiple books in the top 10 in the same year. Since 1990, it’s happened almost every year. No author ever had three top 10 books in one year until Danielle Steel did it 1998. In 2011, John Grisham, Kathryn Stockett, and Stieg Larsson all had two chart-topping books each.

We can also look at the percentage of authors in the top 10 were already famous––say, they had a top 10 book within the past 10 years. That has increased over time, too. 

In the 1950s, a little over half of the authors in the top 10 had been there before. These days, it’s closer to 75%.

Video games

I tracked down the top 20 bestselling video games for each year from 1995 to 2021 (sources: 1, 2, 3, 4, 5, 6, 7) and coded whether each belongs to a preexisting video game franchise. (Some games, like Harry Potter and the Sorcerer’s Stone, belong to franchises outside of video games. For these, I coded the first installment as originals and any subsequent installments as franchise games.)

The oligopoly rules video games too:

In the late 1990s, 75% or less of bestselling video games were franchise installments. Since 2005, it’s been above 75% every year, and sometimes it’s 100%. At the top of the charts, it’s all Mario, Zelda, Call of Duty, and Grand Theft Auto.

Why is this happening?

Any explanation for the rise of the pop oligopoly has to answer two questions: why have producers started producing more of the same thing, and why are consumers consuming it? I think the answers to the first question are invasion, consolidation, and innovation. I think the answer to the second question is proliferation.

Invasion

Software and the internet have made it easier than ever to create and publish content. Most of the stuff that random amateurs make is crap and nobody looks at it, but a tiny proportion gets really successful. This might make media giants choose to produce and promote stuff that independent weirdos never could, like an Avengers movie. This can’t explain why oligopolization started decades ago––YouTube only launched in 2005, for example, and most Americans didn’t have broadband until 2007––but it might explain why it’s accelerated and stuck around.

Consolidation

Big things like to eat, defeat, and outcompete smaller things. So over time, big things should get bigger and small things should die off. Indeed, movie studios, music labels, TV stations, and publishers of books and video games have all consolidated. Maybe it’s inevitable that major producers of culture will suck up or destroy everybody else, leaving nothing but superstars and blockbusters. Indeed, maybe cultural oligopoly is merely a transition state before we reach cultural monopoly.

Innovation

You may think there’s nothing left to discover in art forms as old as literature and music, and that they simply iterate as fashions change. But it took humans thousands of years to figure out how to create the illusion of depth in paintings. Novelists used to think that sentences had to be long and complicated until Hemingway came along, wrote some snappy prose, and changed everything. Even very old art forms, then, may have secrets left to discover. Maybe the biggest players in culture discovered some innovations that won them a permanent, first-mover chunk of market share. I can think of a few:

  • In books: lightning-quick plots and chapter-ending cliffhangers. Nobody thinks The Da Vinci Code is high literature, but it’s a book that really really wants you to read it. And a lot of people did!
  • In music: sampling. Musicians seem to sample more often these days. Now we not only remake songs; we franchise them too.
  • In movies, TV, and video games: cinematic universes. Studios have finally figured out that once audiences fall in love with fictional worlds, they want to spend lots of time in them. Marvel, DC, and Star Wars are the most famous, but there are also smaller universe expansions like Better Call Saul and El Camino from Breaking Bad and The Many Saints of Newark from The Sopranos. Video game developers have understood this for even longer, which is why Mario does everything from playing tennis to driving go-karts to, you know, being a piece of paper.

Proliferation

Invasion, consolidation, and innovation can, I think, explain the pop oligopoly from the supply side. But all three require a willing audience. So why might people be more open to experiencing the same thing over and over again?

As options multiply, choosing gets harder. You can’t possibly evaluate everything, so you start relying on cues like “this movie has Tom Hanks in it” or “I liked Red Dead Redemption, so I’ll probably like Red Dead Redemption II,” which makes you less and less likely to pick something unfamiliar. 

Another way to think about it: more opportunities means higher opportunity costs, which could lead to lower risk tolerance. When the only way to watch a movie is to go pick one of the seven playing at your local AMC, you might take a chance on something new. But when you’ve got a million movies to pick from, picking a safe, familiar option seems more sensible than gambling on an original.

This could be happening across all of culture at once. Movies don’t just compete with other movies. They compete with every other way of spending your time, and those ways are both infinite and increasing. There are now 60,000 free books on Project Gutenberg, Spotify says it has 78 million songs and 4 million podcast episodes, and humanity uploads 500 hours of video to YouTube every minute. So uh, yeah, the Tom Hanks movie sounds good.

What do we do about it?

Some may think that the rise of the pop oligopoly means the decline of quality. But the oligopoly can still make art: Red Dead Redemption II is a terrific game, “Blinding Lights” is a great song, and Toy Story 4 is a pretty good movie. And when you look back at popular stuff from a generation ago, there was plenty of dreck. We’ve forgotten the pulpy Westerns and insipid romances that made the bestseller lists while books like The Great Gatsby, Brave New World, and Animal Farm did not. American Idol is not so different from the televised talent shows of the 1950s. Popular culture has always been a mix of the brilliant and the banal, and nothing I’ve shown you suggests that the ratio has changed.

The problem isn’t that the mean has decreased. It’s that the variance has shrunk. Movies, TV, music, books, and video games should expand our consciousness, jumpstart our imaginations, and introduce us to new worlds and stories and feelings. They should alienate us sometimes, or make us mad, or make us think. But they can’t do any of that if they only feed us sequels and spinoffs. It’s like eating macaroni and cheese every single night forever: it may be comfortable, but eventually you’re going to get scurvy. 

We haven’t fully reckoned with what the cultural oligopoly might be doing to us. How much does it stunt our imaginations to play the same video games we were playing 30 years ago? What message does it send that one of the most popular songs in the 2010s was about how a 1970s rock star was really cool? How much does it dull our ambitions to watch 2021’s The Matrix: Resurrections, where the most interesting scene is just Neo watching the original Matrix from 1999? How inspiring is it to watch tiny variations on the same police procedurals and reality shows year after year? My parents grew up with the first Star Wars movie, which had the audacity to create an entire universe. My niece and nephews are growing up with the ninth Star Wars movie, which aspires to move merchandise. Subsisting entirely on cultural comfort food cannot make us thoughtful, creative, or courageous.

Fortunately, there’s a cure for our cultural anemia. While the top of the charts has been oligopolized, the bottom remains a vibrant anarchy. There are weird books and funky movies and bangers from across the sea. Two of the most interesting video games of the past decade put you in the role of an immigration officer and an insurance claims adjuster. Every strange thing, wonderful and terrible, is available to you, but they’ll die out if you don’t nourish them with your attention. Finding them takes some foraging and digging, and then you’ll have to stomach some very odd, unfamiliar flavors. That’s good. Learning to like unfamiliar things is one of the noblest human pursuits; it builds our empathy for unfamiliar people. And it kindles that delicate, precious fire inside us––without it, we might as well be algorithms. Humankind does not live on bread alone, nor can our spirits long survive on a diet of reruns.

A Weird, Stupid Dystopia

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By Caitlin Johnstone

Source: CaitlinJohnstone.com

The last few days in the United States have seen a parade of wealthy freaks fellating each other’s egos and preening for the cameras in outlandish garb while ordinary Americans suffer more and more.

The weekend’s White House Correspondents’ Dinner saw a gaggle of media celebrities congregate to congratulate one another on what a great job they’ve been doing bravely telling the truth and holding the most powerful government on earth to account. The host, Trevor Noah of The Daily Show, gushed with enthusiasm about how much freedom the press have in America to say things the powerful don’t like.

“As we sit in this room tonight, people, I really hope you all remember what the real purpose of this evening is,” Noah said. “Yes, it’s fun. Yes, we dress nice. Yes, the people eat, they drink, we have fun. But the reason we’re here is to honor and celebrate the fourth estates and what you stand for — what you stand for — an additional check and balance that holds power to account and gives voice to those who otherwise wouldn’t have one.”

“And if you ever begin to doubt your responsibilities, if you ever begin to doubt how meaningful it is, look no further than what’s happening in Ukraine,” said Noah. “Look at what’s happening there. Journalists are risking and even losing their lives to show the world what’s really happening. You realize how amazing it is. In America, you have the right to seek the truth and speak the truth even if it makes people in power uncomfortable, even if it makes your viewers or your readers uncomfortable. You understand how amazing that is? I stood here tonight and I made fun of the president of the United States, and I’m going to be fine. I am going to be fine, right? Do you really understand what a blessing it is?”

Of course there are people who’ve said things that US presidents don’t like who are not in fact fine. Julian Assange continues to waste away in Belmarsh Prison as the US government continues its efforts to extradite him to he can become the first publisher ever tried under the Espionage Act. Edward Snowden, an American, remains in exile because one US president after another continues to refuse to pardon his heroic whistleblowing about the sinister surveillance practices of the US intelligence cartel. Daniel Hale, also an American, sits in prison for exposing the depravity of America’s monstrous drone program.

Trevor Noah did not mention these people, or the many others who’ve been persecuted, silenced, imprisoned and killed for saying things the powerful individuals who govern the US don’t approve of, because as a member of the mainstream media his job is not to inform but to propagandize.

Far from providing “an additional check and balance that holds power to account and gives voice to those who otherwise wouldn’t have one” as Noah claims, the people in his audience on Saturday night are tasked with manipulating public thought in facilitation of the interests of the powerful. The mainstream news media in America, and throughout all the so-called free democracies of the western world, are propaganda institutions whose first and foremost job is to manufacture consent for oligarchy and empire.

Which is why the President of the United States, when he took the podium that night, had nothing but friendly words for the mainstream press.

“What’s clear, and I mean this from the bottom of my heart, is that you, the free press, matter more than you ever did in the last century,” Biden said. “We’ve all seen the courage of Ukrainian people because of the courage of American reporters in this room, and your colleagues across the world who are on the ground taking their lives in their own hands.”

This past weekend also saw a friendly gathering of brave fourth estate truth warriors and political and government operatives of the US empire at a party hosted by the billionaire owner of the neocon war propaganda rag The Atlantic.

Politico reports:

David and Katherine Bradley and Laurene Powell Jobs hosted a dinner at the Bradleys’ home. SPOTTED: Secretary of State Antony Blinken and Cabinet Secretary Evan Ryan, Commerce Secretary Gina Raimondo, CIA Director Bill Burns, press secretary Jen Psaki, Deputy A.G. Lisa Monaco, Sen. Tina Smith (D-Minn.), FCC Chair Jessica Rosenworcel, Del. Stacey Plaskett (D-U.S. Virgin Islands), homeland security adviser Elizabeth Sherwood-Randall, Jeffrey Goldberg, Nick Thompson, Peter Lattman, Anne Applebaum, Russell Berman, Franklin Foer, David Frum, Elaine Godfrey, Adam Harris, Mark Leibovich, Jeff Dufour, Heather Kuldell, Kevin Baron, José Andrés, Enes Kanter, Mitch Landrieu, Dafna Linzer, Rachel Martin, Judy Woodruff, Jake Tapper, Wolf Blitzer, Jonathan Capehart, Katty Kay, Steve and Jean Case, John Dickerson and Jen Palmieri.

Yep, when you see a shady basketball player/empire propagandist fraternizing with the CIA Director while surrounded by media celebrities and government insiders at a party hosted by a media-owning plutocrat, you know you’re in a country where power is held to account. Right, Trevor?

The orgy of embarrassment was capped off by the 2022 Met Gala, a big weird dystopian parade of rich freaks dressed like Hunger Games aristocracy and laughing in the face of everyone who can’t afford to live.

An honest Met Gala dress would have a corset made from the bones of Yemeni children, draped with a cloth of stolen gold and lithium spun by the tiny hands of child slaves, with a full-length train that leached oil and blood wherever it went.

This while ordinary Americans struggle just to survive. While American women appear to be on the precipice of losing their reproductive sovereignty. While money is poured into a proxy war which threatens to escalate into a conflict that could easily end all life on earth.

This is your dying empire, America. This is your end-stage capitalism. This is your dystopia, in all its weird, phony, stupid glory.

It is horrifying. The longer you look at it, the creepier it gets.

https://twitter.com/kayrosef/status/1520605986259873793

Breathe it all in, folks.

We’re in for a hell of a ride.

New York Times — a Bastion of Censorship and Corruption — Warns ‘America Has a Free Speech Problem’

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The New York Times editorial board recently opined that Americans are losing “the right to speak their minds and voice their opinions,” yet this same newspaper refused to review, or even publish an advertisement for, RFK, Jr.’s runaway bestseller, “The Real Anthony Fauci.”

By Tony Lyons

Source: The Defender

In a bold, but clearly disingenuous, statement from its famed editorial board, “a group of opinion journalists whose views are informed by expertise, research, debate, and certain longstanding values,” The New York Times issued a cautionary statement:

“For all the tolerance and enlightenment that modern society claims, Americans are losing hold of a fundamental right as citizens of a free country: the right to speak their minds and voice their opinions in public without fear of being shamed or shunned.”

The editorial board pounded the point home:

“People should be able to put forward viewpoints, ask questions and make mistakes, and take unpopular but good-faith positions on issues that society is still working through — all without fearing cancellation …. Freedom of speech requires not just a commitment to openness and tolerance in the abstract. It demands conscientiousness…

“We believe it isn’t enough for Americans to just believe in the rights of others to speak freely; they should also find ways to actively support and protect those rights.”

Of course, The New York Times should be leading by example. In fact, it has not supported free speech, protected the First Amendment, or allowed honest debate. It has not allowed competing perspectives about the most important issues of the day.

Instead, it has been a mouthpiece for greedy corporations and corrupt government officials.

In support of the newspaper’s interests, and at the expense of the interests of American citizens, The New York Times censored Robert F. Kennedy, Jr.’s latest book, “The Real Anthony Fauci,” in every conceivable way.

It ranked the book No. 7 on its non-fiction bestseller list even though the book outsold any other book in America that week by thousands of copies.

Then it refused to allow Skyhorse Publishing to place an advertisement for the book because its censorship division, ironically called “Standards Management,” decided the book itself constituted misinformation — despite the paper’s stated policy that “Standards” only looks into whether an ad itself is “non-defamatory and accurate.”

The New York Times followed up with a scathing hit piece targeting Kennedy as “a leading voice in the campaign to discredit coronavirus vaccines and other measures being advanced by the Biden White House to battle a pandemic that was … killing close to 1,900 people a day.”

The Times accused Kennedy of circulating “false information” — without indicating what that information was or explaining why it was false — and of comparing the government pandemic response to the Holocaust, even though he didn’t do that.

Finally, The New York Times refused to review “The Real Anthony Fauci” or so much as comment on its historic grassroots success, even though it’s become a cult classic, selling more than 1 million copies in just four months, and launching a worldwide movement against government corruption and corporate greed.

“Despite all the lying, or maybe in reaction to it,” Tucker Carlson told me, “Robert F. Kennedy, Jr. is becoming a legitimate folk hero.”

He is a folk hero because he stood up, grabbed a bullhorn and spoke truth to power. He’s risked everything. He’s realized that you either care about justice or you care about personal consequences.

And for him there have been many.

After suppressing freedom of speech for two years and defending a specific, myopic and harmful narrative, the editorial board of the New York Times decided it was the perfect time to take a strong stance against censorship and cancel culture.

The irony of the most powerful and high-profile violator of First Amendment rights lamenting the lack of free speech — and offering up ideas to protect the rights of Americans — was palpable, inescapable and despicable.

Like Captain Renault in “Casablanca,” when he closes Rick’s Café Americain and proclaims: “I’m shocked, shocked to find that gambling is going on in here,” The New York Times gladly accepts its winnings.

The paper’s profitability has soared during the worst and most pervasive period of censorship in recent American history. Its owners have done absolutely nothing to protect the free speech rights of hundreds, if not thousands, of doctors, nurses, scientists and concerned citizens who have tried to discuss views, make arguments and analyze scientific studies that challenge the prevailing COVID narrative.

The Times has silenced debate, worked tirelessly to chastise, vilify and discredit those whose positions they disagree with, and failed to investigate serious claims of government corruption.

Nevertheless, the paper claims to lament that “when public discourse in America is narrowed, it becomes harder to answer … the urgent questions we face as a society.”

What could be more important, more urgent, than the truth about corruption at the highest levels of government, about a pandemic response that led to more serious illness and death than was necessary, about the most powerful public health official in the country being more concerned with helping Big Pharma maximize return on investment and mitigate risk to industry, rather than protecting people’s lives?

As The Times wrote, the worst kind of censorship is cancel culture and the worst kind of cancel culture is the “piling on” kind.

Why then, one might ask, did the paper run a hit piece about Robert F. Kennedy, Jr. that covered essentially the same subject matter as a dozen other hit pieces? Why now? Why this target?

His family thinks he’s wrong about vaccines, The Times noted. His friends think he’s wrong about vaccines. Dr. Fauci thinks he’s wrong about vaccines. Ever heard that before?

Any analysis about vaccine safety? Any facts? Any citations? Any discussion of Dr. Fauci’s despicable corruption as described in “The Real Anthony Fauci”?

No, no, no, no and no.

What was The New York Times doing when the whole world was attacking Robert F. Kennedy, Jr.?

Where was The New York Times when Robert F. Kennedy, Jr., Dr. Robert Malone, Dr. Judy Mikovits, Dr. Pierre Kory — and so many other impressive voices — were being stifled?

They were “piling on.” (If The New York Times really wants to do something for free speech, it should publish a book review, finally, of the runaway bestseller — “The Real Anthony Fauci.”)

The Times has stated it won’t “publish ad hominem attacks,” but it does publish hit pieces that any rational person understands are meant to discredit a book they don’t mention and obviously haven’t read.

The Times protects corrupt government officials against the unsuspecting public by forwarding policy statements or official memos their editors and reporters have not thoroughly vetted, investigated or corroborated.

The Times writers and editors are the worst kind of co-conspirators: the kind that claims to be protecting their victims.

The New York Times writes:

“At the individual level, human beings cannot flourish without the confidence to take risks, to pursue ideas and express thoughts that others might reject…. When speech is stifled or when dissenters are shut out of the public discourse, a society also loses its ability to resolve conflict, and it faces the risk of political violence.”

That’s where we are in America today. There is no debate, no public discourse, and we have lost the ability to resolve conflict.

We have separated the country into two Americas, at least partially because of the policies and practices of The New York Times.

The New York Post pointed out that the New York Times “published lies to serve a biased narrative.” The Post accused The Times of “malicious misreporting” and cites a book, “The Grey Lady Winked,” by Ashley Rindsberg.

Rindsberg is quoted as calling The New York Times “a truth-producing machine.” He believes the “fabrications and distortions” they’ve peddled since the 1920s were a system of twisting facts to manipulate public opinion about everything from “Hitler’s Germany and Stalin’s Russia to Vietnam and the Iraq War.”

The “reporting” is designed to “support a narrative aligned with the corporate whims, economic needs and political preferences” of The New York Times, Rindsberg claims. He believes the paper has consistently created “false narratives.”

The New York Post says The Times has the resources to do it:

“With close to $2 billion in annual revenue, the Times has the money, prestige, experience and stature to set the narratives that other news outlets invariably follow.”

Rindsberg alleges a former Times bureau chief in Berlin was a Nazi collaborator and that another star reporter for the paper parroted Soviet propaganda to defend Stalin.

The New York Times coverage in the lead-up to the Vietnam and Iraq wars seemed like government disinformation designed to support going to war.

More recently Rindsberg points to the stories that The New York Times published about Russia putting a bounty on U.S. soldiers in Afghanistan, which the Biden administration later conceded was misinformation, and the story about Capitol Police Officer Brian Sicknick being “murdered by rampaging Trump supporters,” though it was later proven he died of a stroke.

Similarly, Glenn Greenwald accused The New York Times of participating in “one of the most successful disinformation campaigns in modern electoral history.”

The Times, which before the 2020 election dismissed the Hunter Biden laptop as Russian disinformation, recently conceded that it was authentic.

It seems likely The New York Times coverage of the COVID Pandemic isn’t any different than its coverage of Hitler, Stalin, Vietnam, the Iraq War, January 6, the Russian bounty on American soldiers or the Hunter Biden laptop.

Like most of the major Big Tech platforms, The New York Times appears to have worked closely with Dr. Fauci and others, as representatives of the U.S. government, to control and propagate a specific narrative and to do what the government can’t legally do itself — censor ideas that it disagrees with or narratives that might be harmful to its corporate partners.

As discussed above, The New York Times actively suppressed Robert F. Kennedy, Jr.’s book and his allegations of corruption against Dr. Anthony Fauci. It defended Dr. Fauci without any investigation, without a full, free and fair discussion of what is clearly the most important book of the decade.

By ignoring Kennedy’s book, by refusing to review it, by not allowing advertisements, by misrepresenting its success on its bestseller list, the paper clearly did everything in its power to avoid any debate whatsoever about the real science behind the origins of COVID or the best practices for controlling the virus and protecting the public.

The New York Times has shown a total disregard for the scientific process, individual due process rights or for any real search for truth.

And, once again, it did all this while lecturing us about the importance of free speech.

We have arrived at George Orwell’s “1984.” Doublespeak is the universal language. The paper of record floods the world with disinformation, claims to be working tirelessly to protect the American people and has clearly become The Ministry of Truth.

Reading Robert F. Kennedy, Jr.’s book, “The Real Anthony Fauci” — the book Big Pharma, Dr. Fauci, the U.S. government and The New York Times will do absolutely anything to prevent you from reading — has become an act of rebellion, a blow to fascism and a clear message that censorship in America just doesn’t work.

Tony Lyons, president and publisher at Skyhorse publishing, and an attorney, was publisher at The Lyons Press between 1997 and 2004. He founded Skyhorse Publishing in 2006 and has been involved with every aspect of the book publishing process.

Humilitainment: How to Control the Citizenry Through Reality TV Distractions

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By John W. Whitehead & Nisha Whitehead

Source: The Rutherford Institute

“Big Brother does not watch us, by his choice. We watch him, by ours…. When a population becomes distracted by trivia, when cultural life is redefined as a perpetual round of entertainments, when serious public conversation becomes a form of baby-talk, when, in short, a people become an audience, and their public business a vaudeville act, then a nation finds itself at risk; culture-death is a clear possibility.”—Professor Neil Postman

Once again, the programming has changed.

Like clockwork, the wall-to-wall news coverage of the latest crisis has shifted gears.

We have gone from COVID-19 lockdowns to Trump-Biden election drama to the Russia-Ukraine crisis to the Ketanji Brown Jackson confirmation hearings to Will Smith’s on-camera assault of comedian Chris Rock at the Academy Awards Ceremony.

The distractions, distortions, and political theater just keep coming.

The ongoing reality show that is life in the American police state feeds the citizenry’s voracious appetite for titillating, soap opera drama.

Much like the fabricated universe in Peter Weir’s 1998 film The Truman Show, in which a man’s life is the basis for an elaborately staged television show aimed at selling products and procuring ratings, the political scene in the United States has devolved over the years into a carefully calibrated exercise in how to manipulate, polarize, propagandize and control a population.

This is the magic of the reality TV programming that passes for politics today: as long as we are distracted, entertained, occasionally outraged, always polarized but largely uninvolved and content to remain in the viewer’s seat, we’ll never manage to present a unified front against tyranny (or government corruption and ineptitude) in any form.

The more that is beamed at us, the more inclined we are to settle back in our comfy recliners and become passive viewers rather than active participants as unsettling, frightening events unfold.

We don’t even have to change the channel when the subject matter becomes too monotonous. That’s taken care of for us by the programmers (the corporate media).

“Living is easy with eyes closed,” observed John Lennon, and that’s exactly what reality TV that masquerades as American politics programs the citizenry to do: navigate the world with their eyes shut.

As long as we’re viewers, we’ll never be doers.

Studies suggest that the more reality TV people watch—and I would posit that it’s all reality TV, entertainment news included—the more difficult it becomes to distinguish between what is real and what is carefully crafted farce.

“We the people” are watching a lot of TV.

On average, Americans spend five hours a day watching television. By the time we reach age 65, we’re watching more than 50 hours of television a week, and that number increases as we get older. And reality TV programming consistently captures the largest percentage of TV watchers every season by an almost 2-1 ratio.

This doesn’t bode well for a citizenry able to sift through masterfully-produced propaganda in order to think critically about the issues of the day, whether it’s fake news peddled by government agencies or foreign entities.

Those who watch reality shows tend to view what they see as the “norm.” Thus, those who watch shows characterized by lying, aggression and meanness not only come to see such behavior as acceptable and entertaining but also mimic the medium.

This holds true whether the reality programming is about the antics of celebrities in the White House, in the board room, or in the bedroom.

It’s a phenomenon called “humilitainment.”

A term coined by media scholars Brad Waite and Sara Booker, “humilitainment” refers to the tendency for viewers to take pleasure in someone else’s humiliation, suffering and pain.

“Humilitainment” largely explains not only why American TV watchers are so fixated on reality TV programming but how American citizens, largely insulated from what is really happening in the world around them by layers of technology, entertainment, and other distractions, are being programmed to accept the government’s brutality, surveillance and dehumanizing treatment as things happening to other people.

The ramifications for the future of civic engagement, political discourse and self-government are incredibly depressing and demoralizing.

This explains how we keep getting saddled with leaders in government who are clueless about the Constitution and out-of-touch with the needs of the people they were appointed to represent.

This is also what happens when an entire nation—bombarded by reality TV programming, government propaganda and entertainment news—becomes systematically desensitized and acclimated to the trappings of a government that operates by fiat and speaks in a language of force.

Ultimately, the reality shows, the entertainment news, the surveillance society, the militarized police, and the political spectacles have one common objective: to keep us divided, distracted, imprisoned, and incapable of taking an active role in the business of self-government.

Look behind the political spectacles, the reality TV theatrics, the sleight-of-hand distractions and diversions, and the stomach-churning, nail-biting drama, and you will find there is a method to the madness.

We have become guinea pigs in a ruthlessly calculated, carefully orchestrated, chillingly cold-blooded experiment in how to control a population and advance a political agenda without much opposition from the citizenry.

This is mind-control in its most sinister form.

How do you change the way people think? You start by changing the words they use.

In totalitarian regimes where conformity and compliance are enforced at the end of a loaded gun, the government dictates what words can and cannot be used.

In countries where tyranny hides behind a benevolent mask and disguises itself as tolerance, the citizens censor themselves, policing their words and thoughts to conform to the dictates of the mass mind.

Even when the motives behind this rigidly calibrated reorientation of societal language appear well-intentioned—discouraging racism, condemning violence, denouncing discrimination and hatred—inevitably, the end result is the same: intolerance, indoctrination, infantilism, the chilling of free speech and the demonizing of viewpoints that run counter to the cultural elite.

As George Orwell recognized, “In times of universal deceit, telling the truth is a revolutionary act.”

Orwell understood only too well the power of language to manipulate the masses.

In Orwell’s 1984, Big Brother does away with all undesirable and unnecessary words and meanings, even going so far as to routinely rewrite history and punish “thoughtcrimes.” In this dystopian vision of the future, the Thought Police serve as the eyes and ears of Big Brother, while the Ministry of Peace deals with war and defense, the Ministry of Plenty deals with economic affairs (rationing and starvation), the Ministry of Love deals with law and order (torture and brainwashing), and the Ministry of Truth deals with news, entertainment, education and art (propaganda). The mottos of Oceania: WAR IS PEACE, FREEDOM IS SLAVERY, and IGNORANCE IS STRENGTH.

Orwell’s Big Brother relied on Newspeak to eliminate undesirable words, strip such words as remained of unorthodox meanings and make independent, non-government-approved thought altogether unnecessary.

Where we stand now is at the juncture of Oldspeak (where words have meanings, and ideas can be dangerous) and Newspeak (where only that which is “safe” and “accepted” by the majority is permitted).

Truth is often lost when we fail to distinguish between opinion and fact, and that is the danger we now face as a society. Anyone who relies exclusively on television/cable news hosts and political commentators for actual knowledge of the world is making a serious mistake.

Unfortunately, since Americans have by and large become non-readers, television has become their prime source of so-called “news.” This reliance on TV news has given rise to such popular news personalities who draw in vast audiences that virtually hang on their every word.

In our media age, these are the new powers-that-be.

Yet while these personalities often dispense the news like preachers used to dispense religion, with power and certainty, they are little more than conduits for propaganda and advertisements delivered in the guise of entertainment and news.

Given the preponderance of news-as-entertainment programming, it’s no wonder that viewers have largely lost the ability to think critically and analytically and differentiate between truth and propaganda, especially when delivered by way of fake news criers and politicians.

While television news cannot—and should not—be completely avoided, the following suggestions will help you better understand the nature of TV news.

1. TV news is not what happened. Rather, it is what someone thinks is worth reporting. Although there are still some good TV journalists, the old art of investigative reporting has largely been lost. While viewers are often inclined to take what is reported by television “news” hosts at face value, it is your responsibility to judge and analyze what is reported.

2. TV news is entertainment. There is a reason why the programs you watch are called news “shows.” It’s a signal that the so-called news is being delivered as a form of entertainment. “In the case of most news shows,” write Neil Postman and Steve Powers in their insightful book, How to Watch TV News (1992), “the package includes attractive anchors, an exciting musical theme, comic relief, stories placed to hold the audience, the creation of the illusion of intimacy, and so on.”

Of course, the point of all this glitz and glamour is to keep you glued to the set so that a product can be sold to you. (Even the TV news hosts get in on the action by peddling their own products, everything from their latest books to mugs and bathrobes.) Although the news items spoon-fed to you may have some value, they are primarily a commodity to gather an audience, which will in turn be sold to advertisers.

3. Never underestimate the power of commercials, especially to news audiences. In an average household, the television set is on over seven hours a day. Most people, believing themselves to be in control of their media consumption, are not really bothered by this. But TV is a two-way attack: it not only delivers programming to your home, it also delivers you (the consumer) to a sponsor.

People who watch the news tend to be more attentive, educated and have more money to spend. They are, thus, a prime market for advertisers. And sponsors spend millions on well-produced commercials. Such commercials are often longer in length than most news stories and cost more to produce than the news stories themselves. Moreover, the content of many commercials, which often contradicts the messages of the news stories, cannot be ignored. Most commercials are aimed at prurient interests in advocating sex, overindulgence, drugs, etc., which has a demoralizing effect on viewers, especially children.

4. It is vitally important to learn about the economic and political interests of those who own the “corporate” media. There are few independent news sources anymore. The major news outlets are owned by corporate empires.

5. Pay special attention to the language of newscasts. Because film footage and other visual imagery are so engaging on TV news shows, viewers are apt to allow language—what the reporter is saying about the images—to go unexamined. A TV news host’s language frames the pictures, and, therefore, the meaning we derive from the picture is often determined by the host’s commentary. TV by its very nature manipulates viewers. One must never forget that every television minute has been edited. The viewer does not see the actual event but the edited form of the event. For example, presenting a one- to two-minute segment from a two-hour political speech and having a TV talk show host critique may be disingenuous, but such edited footage is a regular staple on news shows. Add to that the fact that the reporters editing the film have a subjective view—sometimes determined by their corporate bosses—that enters in.

6. Reduce by at least one-half the amount of TV news you watch. TV news generally consists of “bad” news—wars, torture, murders, scandals and so forth. It cannot possibly do you any harm to excuse yourself each week from much of the mayhem projected at you on the news. Do not form your concept of reality based on television. TV news, it must be remembered, does not reflect normal everyday life. Studies indicate that a heavy viewing of TV news makes people think the world is much more dangerous than it actually is.

7. One of the reasons many people are addicted to watching TV news is that they feel they must have an opinion on almost everything, which gives the illusion of participation in American life. But an “opinion” is all that we can gain from TV news because it only presents the most rudimentary and fragmented information on anything. Thus, on most issues we don’t really know much about what is actually going on. And, of course, we are expected to take what the TV news host says on an issue as gospel truth. But isn’t it better to think for yourself? Add to this that we need to realize that we often don’t have enough information from the “news” source to form a true opinion. How can that be done? Study a broad variety of sources, carefully analyze issues in order to be better informed, and question everything.

The bottom line is simply this: Americans should beware of letting others—whether they be television news hosts, political commentators or media corporations—do their thinking for them.

As I make clear in my book Battlefield America: The War on the American People and in its fictional counterpart The Erik Blair Diaries, a populace that cannot think for themselves is a populace with its backs to the walls: mute in the face of elected officials who refuse to represent us, helpless in the face of police brutality, powerless in the face of militarized tactics and technology that treat us like enemy combatants on a battlefield, and naked in the face of government surveillance that sees and hears all.

It’s time to change the channel, tune out the reality TV show, and push back against the real menace of the police state.

If not, if we continue to sit back and lose ourselves in political programming, we will remain a captive audience to a farce that grows more absurd by the minute.

Saturday Matinee: Natural Born Killers

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By Richard Propes

Source: The Independent Critic

Is “Natural Born Killers” an indictment of our current society that is so completely fascinated with crime, criminals and everything that waxes dramatic? Or, is it simply a glossy, stylized romp through random acts of violence?

Oliver Stone’s “Natural Born Killers” takes the life of two of society’s rejects, Mickey and Mallory, and allows them to fall in love and embark on a nationwide killing spree that becomes fodder for the press, an obsession for law enforcement and, ultimately, they become folk heroes to the common man across America.

The film, which on the surface appears to be incredibly and over-the-top violent, is actually far less violent than many films with a lesser rating. While we see shootings and killings, the vision is seldom graphic in nature. These events are much more about attitude and atmosphere than they are the violence itself.

The word “intoxication” is the word I think of most when I think of the film “Natural Born Killers.” Mickey (Woody Harrelson) and Mallory (Juliette Lewis) become intoxicated by killing and the fame it brings…Reporter Wayne Gale (Robert Downey, Jr.) becomes intoxicated by the story, the ratings, the spotlight…Warden McClusky (Tommy Lee Jones) is intoxicated by his power and justice.

The script, by Stone and Quentin Tarantino, vividly brings to life this intoxication in scenes that often resemble television shows and other times take on such a psychedelic feeling that it almost feels like we’re in the middle of one of those lava lamps where you look through the hole and you see different visions every time you look in it.

“Natural Born Killers”, for me, is a visionary film because it sees the truth of our society and where we are headed. We are living in a world where celebrity allows you to get away with most anything, such as in the O.J. Simpson trial, and where even the most heinous criminal becomes an overnight celebrity. In “Natural Born Killers,” Stone and Tarantino are, to me, clearly saying that we can’t just blame the criminals for the deterioration of our society…it’s all of us who buy into the drama, the glamour and the excitement that allows the cycle to perpetuate.

Stellar performances, a powerful, insightful script, groundbreaking camerawork and the unique vision of Oliver Stone combine to make “Natural Born Killers” a bold, visionary film that may shock, may offend, may alienate…but, in the end, it is a film you will remember.

Watch Natural Born Killers on Hoopla here: https://www.hoopladigital.com/title/14507250

Flu/Covid Fake News Over the Real Thing

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By Stephen Lendman

Source: StephenLendman.com

Drowning in the former, much more of the latter is needed at the most perilous time in world history.

Things will keep worsening without mass rebellion against made-in-the-USA war against humanity with unparalleled draconian aims in mind.

Ruling US/Western regimes and their vassal state counterparts want countless millions and billions of unwanted people eliminated at home and abroad.

They want what remains of free and open societies eliminated worldwide.

They want what no one should tolerate anywhere.

Never before have so many people in so many places been assaulted by nonstop fake news over truth and full disclosure on any issues over a longer duration than on kill shots and all else flu/covid related.

For over two years, it’s been the most predominantly reported of all issues with Big Lies drowning out vital to know hard truths.

What should be explained is suppressed.

What’s reported by official sources and MSM is all fake news all the time — truth and full disclosure perhaps on the cusp of being banned.

According to fake news by the Pharma-controlled WHO, half of Europe could contract flu/covid before end of winter 2022 from what it dubiously called a “tidal wave sweeping across the” continent (sic).

Its Europe director Hans Kluge falsely claimed that “over seven million (flu/covid) cases (occurred) in the first week of 2022 (sic).”

Pushing health-destroying kill shots, including boosters, he defied science by falsely claiming that they’re remarkably effective at preventing severe illness and death (sic).

He lied claiming that in Denmark, unjabbed individuals hospitalized for flu/covid are sixfold higher than for their jabbed counterparts (sic).

He fear-mongered unacceptably about the more scariant than variant omicron — a made-in-the-West scam.

Like his counterparts throughout the US/West, he failed to explain that it’s virtually identical to other flu/covid strains.

That they’re all virtually alike.

That numbers of strains don’t matter.

That pre-2020, fear-mongering mass deception unacceptably created public hysteria about seasonal flu-now called covid.

That everything going on since early 2020 has nothing to do with protecting public health.

That it’s all about destroying it and what remains of free and open societies — along with letting Pharma cash in big on a bonanza of profits from kill shots.

Kluge and his counterparts throughout the US West consistently leave unexplained that virtually all reported outbreaks based on PCR test results are false positives.

The test isn’t designed to detect illness. 

It’s been used to falsely diagnose healthy people as ill.

The vast majority of claimed flu/covid outbreaks are either among the jabbed or based on PCR false positive results.

The real number of cases is a tiny fraction of what’s officially reported.

Former Pfizer chief scientist for allergy and infectious diseases, Dr. Michael Yeadon, is an unsung, truth-telling global hero on flu/covid jabs.

They’re designed “to harm people,” not protect them, he explained.

Experimental, improperly tested, rushed to market mRNA technology used in Pfizer and Moderna kill shots are extremely hazardous.

All vaccines risk harm. None protect as falsely claimed.

Flu/covid jabs were designed to inflict maximum harm on maximum numbers of people.

“By choosing this design, the range of outcomes is probably 1,000 times worse than it would be for a conventional vaccine,” Yeadon stressed.

What’s going on is a state-sponsored, MSM proliferated conspiracy against public health.

There’s “clear evidence of fraud,” said Yeadon, adding:

“This is a conspiracy led by the central banking clique and their clients to take over the world.”

“Once they’ve done that, destroyed the economy…a great financial reset which will have us using our vax passes and digital ID, and central bank digital currency…you won’t like those, you really won’t.” 

“It’ll be the end of cash and any privacy for any transactions.”

Without vax passes, you’ll be treated like a pariah, ostracized from society, maybe involuntarily interned, criminalized.

The diabolical “setup is so perfect” for pursuing depopulation on a never before imagined scale, saud Yeadon.

“(C)urrent so-called ‘good’ (kill shot) batches could be batches with code to activate longterm adverse events” — killing jabbed individuals slowly. 

Inventor of mRNA technology Dr. Robert Malone called state-approved, MSM proliferated rubbish “full-on media warfare, information warfare, political warfare…like we’ve never seen before, and coordinated globally.”

“The other thing for me has been the personal journey of coming to terms with what the (diabolical) World Economic Forum really represents…”

“It is a full-on globalist totalitarian vision with money in control.”

It’s beyond totalitarian rule to full-blown tyranny with the worst of diabolical aims in mind.

They include elimination of billions of unwanted people, transforming societies to ruler/serf ones worldwide, and eliminating what remains of greatly eroded freedoms.

No one understands mRNA technology better than Malone, its inventor.

“(N)obody should (be mandated to be jabbed with what’s) experimental” and unsafe based on indisputable evidence.

What’s happening throughout the US/West, Australia, apartheid Israel and elsewhere is in flagrant breach of “the Nuremberg Code, the Helsinki Agreement, the Common Rule, the Belmont Report, etc.” 

It’s state-sponsored “lawless behavior” going on unchecked.

Malone never expected that his scientific invention would land him in the eye of the storm — because of how it’s being misused.

“(A)symmetric…guerrilla warfare” is ongoing is most parts of the world, he said.

What’s crucially needed is “a great awakening” to counter the most diabolically destructive scheme ever concocted by dark forces against humanity in world history.