Why are these teens, whose parents were supposedly just killed by Hamas, unsuccessfully attempting to hold back laughter in these mainstream media "news" reports? pic.twitter.com/JGZTJk0vu9
A hybrid event will include real murders and real bereavement, but it will also include actors, pretending to be grieving or dead. It's been documented many times and the most famous example (among researchers) of Dupers Delight is Robbie Parker at Sandy Hook. They know in advance that they don't need an Oscar performance as most people aren't devious like they are, and will post rationalise any signs of synthetic grieving.
So they smile at how easy it is to con you. All of the supporting evidence videos for this topic have been scrubbed from the net. Probably the single most censored subject as people will lose their minds if they learned all their shock and sadness for the deaths of children was a Larp.
We learned from Robbie Parker at Sandy Hook in 2012, that it doesn't matter how hard a crisis actor laughs; hypnotised TV consumers will justify it as grief.
Piers plays part of the double-act here by pretending to take his emotions seriously when it's plain to see the Health Secretary Matt Hancock, is creased-up laughing at the notion of the second person to receive the Pfizer vaccine, William Shakespeare.
Many recall the disturbing 'artwork' of Biljana Djurdjevic, when it emerged that the Podesta brothers were keen admirers of her work, after online investigations into highly suspicious coded language used in the emails released by Wikileaks.
Later on, a sharp eyed QAnon researcher noticed the similarities between the pool at Biltmore Estate and the paintings. However, the pool at Biltmore House is no longer a pool. It has no water vents, no filtration, no bottom drain, no overflow mechanism and it has ropes around it matching Podesta paedosadist artwork. Biltmore House belonged to Anderson Cooper's mother Gloria Vanderbilt.
Above is Gloria Vanderbilt's Dream Box - The Schleicher Spin
Above is more Gloria Vanderbilt art appearing in Town & Country, January 1, 2013.
Above is Gloria Vanderbilt in bed with her two sons. A harmless enough scene until we notice the Kali Yuga (or Tanit) child sacrificial scene above the bed.
Gloria Vanderbilt with unknown creepy guy and baby that may be Anderson or his brother who subsequently 'died' in a 'suicide' according to some reports, though it does seem to be shrouded in conflicting accounts when researching the topic.
Above we see a number of 'art' pieces from Gloria Vanderbilt are dedicated to JonBenet Ramsey. She was the Toddlers in Tiaras infant raped and murdered, with the subsequent investigation covered up by the police, as it opened up too many important and powerful connections.
Below is Gloria Vanderbilt's son Anderson Cooper who propagates fake news on CNN while being protected in real life by up to three bodyguards when outside. His time at the CIA is documented in Wikileaks and his 'green screen' fakery and parental faux sympathy at Sandy Hook is well understood by researchers, giving him a reputation for being a Mocking Bird (CIA) media asset.
Notice the JonBenet cutout in the background with the Honey Boo Boo dolls face? Creepy for a gay guy no?
I'm reluctant to post videos these days as I notice all the important ones I've posted over 7 years of documenting conspiracy are by and large scrubbed but this one is worth viewing while you can.
CNN who organised a town hall gun control meeting to exploit the tragedy are in full panic control and it is for this reason that CNN propagandist Jake Tapper who makes 40,000 US Dollars a day tears into Sherrif Israel.
This interview made me feel sick to my stomach.
We know what happened at Sandy Hook but this time the media are obliged to ask tough questions that Sheriff Israel can only dissemble, lie and obfuscate on.
Israel replied to the CNN host in this interview, “Jake, I can only take responsibility for what I knew about. I exercised my due diligence. I’ve given amazing leadership to this agency.” When asked by Tapper if he knew the reason why the armed guard stayed outside instead of trying to save children who were 'bleeding out', Israel replies "I didn't ask". Let that sink in.
It's now clear that Ken O'Keefe is pimping a World Citizen pyramid scheme, while researching the subject it came to my attention that Max Igan is also not all that he seems. I've yet to corroborate this information with interviews, but what I can say is listen to his own voice that bears no resemblance to his day job.
This isn't the lugubrious and phlegmatic tones of the Max Igan we all know. This is a guy losing it on air with expletives to compensate for a massively wounded ego.
Let's just take a look a world hopping jet set Max's lifestyle. He lives in Peru where he claims he needs two of everything because of the humidity. Two washing machines and two refrigerators because one needs to be in repair while the other is in use.
A cursory scan of his recent travel lifestyle includes ByronBay, Santiago, Spain, Amsterdam, Bali and Acapulco. Just the tickets alone for him to fly on that memorable flight from Chile to Australia is 1350 British Pounds or $1789 dollars on the cheapest one week return flight I could find.
Nice work if you can get it.
Now let's move on to Max's words and actions. He said in his "Betrayal of Ken O'Keefe" article that it would be his last word on the subject, and then he posted about it on Facebook, and then did the interview above and now a video blog. Well either it's your last word or not, and if not it raises the question if your word is actually your word.
Max claims that he was only peripherally associated with the One World Citizen Solution pyramid scheme of Ken O'Keefe yet it appears that it was many of his Australian (and other) connections that formed the team assembled for the project including the equally jet set Samantha Bachman.
Max writes "I had nothing to do with his mission other than attend the initial meeting at the request of the team." The Facebook screen grab above is linked here.
This was in Bali December 2015. By February in Acapulco Ken and Max were having their first falling out and in April 2016 Max is clearly backing out of his association with the project if no legal means of withdrawing from taxes for wars or claiming world citizenship can be made.
The glaring question is why Max Igan (not his real name), then took another four months to spill the beans on Ken?
He says it's because Ken was his friend, but by this time he'd received his subversion report and it was clear Ken was not his friend.
This is four months extra while people donated to the project, worked with the project, built the project and kept the fiction going. As Max Igan says himself in his latest Video Blog at the 2.45 mark on the subject of Zen Gardner. If you knew about the child abuse as head of PR for Children of God before anyone else. Why didn't you blow the whistle?
He also shares that he is thinking of quitting but still needs your donations.
That his international jet set lifestyle is punishingly hard with little or no reward though he conveniently excludes the Bali trip and return to Australia.
The purpose of this post isn't to fan the flames of bickering or arguing. Ken is clearly a con man yet Max has an incoherent argument that reveals his lugubrious phlegmatic radio tones are just as much a persona as Ken's fierce justice warrior rhetoric without the epic thieving.
What is of interest to me is the whiff of a broader Psyop with characters like Samantha Bachmann with her PhD in Metaphysics (an obvious Oxymoron) and that other charlatan imposter Santos Bonacci surfacing.
For me Max breaks the cardinal rule, like that other sell-out Ry Dawson and his Sandy Hook ignorance.
He accuses his detractors of conspiracy theories. Update: Max's trip to Bali has been scrubbed from the internet. I literally can't find any trace of it. I've posted new videos where the old one(s) were deleted. Very troubling.
Special Correspondents is worth a watch even for those uninterested in the synthetic news broadcast 24/7 in the corporate media. It's humourous, even hilarious once or twice and unveils in a simple manner how easy it is to construct news events like Sandy Hook, Boston, Paris, Brussels and whatever gay disco/runaway lorry was the nonsense for last month.
The movie is a good sequel to Wag The Dog which was one of the first to dramatise the use of fake news, staged events, false flags and crisis actors. As ever with Hollywood it portrays peaceful Ecuador as a war ravaged country for housing Julian Assange in their London Embassy and for calling out the US War Machine for what it is. A nation scared of its own shadow.
There's some discussion in deep state research circles about how blind to this information the consumer classes are. There was a time when we could have understood why people refused to question 9/11 or Sandy Hook. However, now it's in your face and impossible to explain.
There's now quite a lot of speculation as to what kind of programming is going on inside consumer's heads? Is it fear, endocrine disruptors, Tell Lie Vision Programming, GMO foods? Whatever it is, it's a freak show to observe.
There's no explanation for it. A willful inability to explore basic checkable facts such as Richard Guthyahr's close association with the Israeli deep state through his wife and his presence at the last two socially engineered 'terrorist' dramas.
I'm not saying people didn't die but I don't care any more. There's too many calling cards at each of these events. Call it what you will. There's an element of False Flag action and no mistake.
Sandy Hook is extraordinary because of the number of people required to create the hoax though it's fair to say if one person can be bought why not a hundred.
This documentary on Adam Lanza raises so many questions the rational person may be compelled to look into the obvious deceptions of the event.
Naomi Wolf is taking a great risk here as It's inconceivable to consumers that large scale events like Boston Bamboozle and Sandy Hoax are synthetic, with Government/State collaboration and considerable use of well remunerated crisis actors.
However for those with their critical thinking still intact try to find a Sandy Hook pupil photo from between Jan 1 to Dec 1 2012 (it was already shut down) and watch the Boston Bombing with someone who knows the difference between a smoke bomb and a real one (Hint the real one works like the second photo below unlike the crisis actor currently creaming it with lucrative Hollywood style books and celebrity appearances (only days after losing his legs) in the first picture here.
The most devastating interview with a former State Trooper, Police Officer and School Safety trainer who has trained 3500 school safety officers, and is not getting answers to questions that would prove Sandy Hook is not a social engineering project, planned two years in advance.
The police are threatening him if he doesn't shut up.
I urge you to listen to this before it gets wiped off the net or he his taken out. It's that good.
The great thing about Sandy Hook, like 9/11 is that once the penny drops they are all perception management events, your life improves instantly as you stop grieving and worrying about things that didn't really happen.
I've no problem in admitting mistakes because I don't have the military industrial complex or government handcuffs to sit Dick Cheney in a room and pull his pacemaker our with pliers till he speaks.
I have to rely on the best information I can get my hands on at the time.
I've no real interest in the World Trade Centre towers military grade demolition on 9/11, because it's the million or so Iraqis and Afghanis that are the victims, not the Israelis, British, French or Americans who actually orchestrated most of it. You know. The perpetrators.
However, I hope you were watching your freedoms get pick-pocketed by the war entertainment complex since then.
Here's Butler Shaffer's views on the matter. It's erudite thinking and you really must read it to appreciate a mind ahead of its time.
If I were to offer a seminar on the nature of war, I believe that the first class session would include a showing of the film Wag the Dog. Those who wish to justify the obliteration of hundreds of thousands of total strangers in the name of "good" versus "evil," or "national honour," will likely find the movie discomforting. As the governments of India and Pakistan self-righteously, and in the name of "God," threaten one another with a nuclear war that could instantly kill anywhere from ten to twenty million people, it is time for decent, intelligent people to put down their flags and begin to see war for what the late General Smedley Butler rightly termed it: "a racket." This film offers a quick reality fix.
Randolph Bourne's observation "war is the health of the state" is familiar to most critics of militarism, but few have delved into why this is so. Statism is dependent upon mass thinking which, in turn, is essential to the creation of a collective, herd-oriented society. Such pack-like behaviour is reflected in the intellectual and spiritual passivity of people whose mindsets are wrapped up more in images and appearances than in concrete reality.
Such a collapse of the mind produces a society dominated by entertainment — which places little burden on thinking — rather than critical inquiry, which helps to explain why there has long been a symbiotic relationship between the entertainment industry and political systems. Entertainment fosters a passive consciousness, a willingness to "suspend our disbelief." Its purpose is to generate amusement, a word that is synonymous with "diversion," meaning "to distract the attention of." The common reference to movies as a form of "escape" from reality, reflects this function. Government officials know what every magician knows, namely, that to carry out their illusions, they must divert the audience's attention from their hidden purposes.
Michel Foucault has shown how the state's efforts to regulate sexual behaviour — whether through repressive or "liberating" legislation — serves as such a distraction, making it easier for the state to extend its control over our lives. It is instructive that, in the months preceding the World Trade Centre attacks which, in turn, ushered in the greatest expansion of police powers in America since the Civil War, the news stories that dominated the media had to do with allegations of adulterous affairs by a sitting president and a congressman. It is not coincidence that both the entertainment industry and the government school systems have helped to foster preoccupations with sex.
The authority of the state is grounded in consensus-based definitions of reality, whose content the state insists on controlling. This is why so-called "public opinion polls," rather than factual analysis and reason, have become the modern epistemological standard, and why imagery — which the entertainment industry helps to foster — now takes priority over the substance of things.
Politics and entertainment each feed upon — and help to foster — public appetites for illusions and fantastic thinking. The success of such undertakings, in turn, depends upon unfocused and enervated minds, which helps to explain why motion picture and television performers, popular musicians, and athletes — whose efforts require little participation on the part of the viewer — have become the dominant voices in our politicized culture. It also helps to account for the attraction of so many entertainers throughout the world to visionary schemes such as state socialism, as well as the increasing significance of entertainment industry gossip and box-office revenues as major news stories.
The entertainment industry helps shape the content of our consciousness by generating institutionally desired moods, fears, and reactions, a role played throughout human history. Ancient Greek history is tied up in myths, fables, and other fictions, passed on by the entertainers of their day, the minstrels. We need to ask ourselves about the extent to which our understanding of American history and other human behaviour has been fashioned by motion pictures, novels, and television drama. Through carefully scripted fictions and fantasies, others direct our experiences, channel our emotions, and shape our views of reality. The fantasies depicted are more often of conflict, not cooperation; of violence, not peace; of death, not the importance of life.
Nowhere is the interdependency of the political and entertainment worlds better demonstrated than in the war system, which speaks of "theatres" of operation, "acts" of war with battle "scenes," "staging" areas, and "dress rehearsals" for invasions. The pomp and circumstance of war is reflected in military uniforms that mimic stage costumes, all to the accompaniment of martial music that rivals grand opera. A Broadway play can become either a "bomb" or a "hit;" troops are "billeted" (a word derived from the French meaning of a "ticket"); while the premier of a movie is often accompanied, like a World War II bombing raid, by searchlights that scan the skies. Even the Cold War was framed by an "iron curtain." Is it only coincidence, devoid of any symbolic meaning, that at the end of the American Civil War - one of the bloodiest wars in human history - its chief protagonist was shot while attending the theatre, and that his killer was an actor who, upon completing his deed, descended to the stage and exited?
Adolf Hitler understood, quite well, the interplay between political power and theatre, a truth that continues to reveal itself in entertainers involving themselves so heavily in political campaigns, some even managing to get themselves elected to Congress or the presidency! Nor was it surprising that one of the first acts of the Bush Administration, following the announced "War on Terrorism," was to send a group of presidential advisers to Hollywood to enlist the entertainment industry's efforts to portray the war as desired by Washington! As with earlier wars, the "military/entertainment complex" will continue to write the scripts and define the characters that are required to assure the support of passive minds in the conduct of war.
Furthermore, because entertainment is often conducted in crowded settings (e.g., theatres, stadiums, auditoriums) there is a dynamic conducive to the generation of mass-mindedness. One need only recall the powerful harangues of Adolf Hitler that coalesced tens of thousands of individuals into a controllable mob, to understand the symbiotic relationship between entertainment and politics.
Entertainment is a part of what we call "recreation," which means to "re-create," in this case to give interpretations to events that are most favorable to one's national identity and critical of an opponent. In this connection, entertainers help to manipulate the "dark side" of our being which, once mobilized, can help to generate the most destructive and inhumane consequences. World War II movies portrayed Japanese kamikaze pilots who crashed their planes into Navy ships as "crazed zealots," while American pilots who did the same thing to Japanese ships or trains were represented as "heroes" willing to die to save their comrades. German and Japanese soldiers were presented as sneering sadists who delighted in the torture of the innocents, while the American soldiers only wanted to get the war over with so they could get back home to mom and her apple pie! How many of us, today, think of 19th century U.S. cavalrymen — as portrayed by the likes of John Wayne and Randolph Scott — as brave soldiers, while Indian warriors were "savages" for having forcibly resisted their own annihilation?
All of this leads me to ask whether the entertainment industry is an extension of the war system, or whether war is simply an extension of our need for entertainment? What should be clear to us is that entertainment is one of the principal means by which our thinking can be taken over and directed by others once we have chosen to make our minds passive, which we do when we are asked — whether by actors or politicians — to suspend our judgement about the reality of events we are witnessing. When we are content to be amused (i.e. to have our attention diverted from reality to fantasy), and to have our emotions exploited by those skilled in triggering unconscious forces, we set ourselves up to be manipulated by those producing the show.
Politics differs from traditional theatre in one important respect, however: in the political arena, we do not call for the "author" at the end of a war! Most of us prefernotto know, for to discover the identities of those who have scripted such events might call into question our own gullibility
I urge you to watch it and get a feel for how sophisticated psychological manipulation is, if you haven't caught on that the corporate media are in bed with the security industrial complex and it's goal of controlling humans like sheep.
It's always satisfying to keep talking and posting about Sandy Hook and the other psyops/false flags peddled by the corporate media, because long after the Zombies can only remember something about gun control and kids, we will be reminding those who have a chance that it's a crock of shit.
Hat's off to Sofia Smallstorm for her excellent and measured analysis
As ever I've been among the slowest to fully embrace crisis actors. It was such a big idea during Sandy Hook that I couldn't digest it all in one go even though I could see that it made sense but didn't make sense in terms of being a fully synthetic event.
The pictures of the guy with his leg blown off at the Boston bombing have now been debunked and he may well be a crisis actor amputee veteran of Afghanistan. There is no meat on the stump in the above video and they put some on later for added effect. There can be no denying this.
The only "generous" hypothesis I can think of is that an event is pre-identified, then neutralised and use for information warfare purposes to give the impression that it went ahead successfully to the masterminds. If anyone else has a better idea I'm open minded.
The media really is brainwashing people into believing falsehoods. I don't know what the real story is but I do know the deepest lies are being perpetrated.
By the time the kid comes out of Boston FBI he's going to be clockworked oranged. A complete daze. Standard patsy procedure folks.
— Charles Edward Frith (@charlesfrith) April 20, 2013
It's not because I'm a prophet or anything. I just know the FBI are corrupt. I know it's a false flag bombing to strip civil liberties and profit from an enlarged security state apparatus and a lucid patsy witness is the last thing you need. That's why Jack Ruby had to wipe out Lee Harvey Oswald. Did you know Jack had MKULTRA mind control links? The rabbit hole is so deep.
Adam Lanza of Sandy Hook and James Holmes of Aurora movie theatre shooting, were also patsies but that was all about fertilizing demand for gun control.
The modus operandi of false flags is to run an "exercise" concurrently with the false flag. It adds to confusion of reports, adds slack to subsequent official manipulation and some other reasons I don't want to share here but it is the signature of 9/11, 7/7 and Sandy Hook false flag events.
The official story is falling apart and we now have the evidence that is usually wiped from history when the FBI seizes all the CCTV and locks it up for that old trope 'national security reasons'. May I remind you all that Aurora and Sandy Hook were false flag events to bring in gun control, and that the manipulation is beginning to disintegrate to those who are awake and aware. We don't need your CCTV because we have Digital cameras and Youtube and the Internet which has no gatekeepers even though you keep trying.
Whatever happened at Sandy Hook it isn't the story portrayed in the media. Thus it's important to not let it slide like all the easily distracted, story for the day junkies who have forgotten what they felt yesterday, or at least have forgotten enough to ensure they don't examine new information.
The Memory Hole is doing excellent work and asking the best intellectual questions on this troubling issue.
