Forcing the New Dystopian future.

Not that we were not warned but many chose to look away. Could not believe it?

We have arrived, way ahead of schedule, into this dreamed up dystopian future dreamed up by such science fiction writers as George Orwell, Aldous Huxley, Margaret Atwood and Philip K. Dick.

By John W. Whitehead

“The Internet is watching us now. If they want to. They can see what sites you visit. In the future, television will be watching us, and customizing itself to what it knows about us. The thrilling thing is, that will make us feel we’re part of the medium. The scary thing is, we’ll lose our right to privacy. An ad will appear in the air around us, talking directly to us.” — Director Steven Spielberg, Minority Report

we have arrived into the dystopian future dreamed up by science fiction writers

We have arrived, way ahead of schedule, into the dystopian future dreamed up by such science fiction writers as George Orwell, Aldous Huxley, Margaret Atwood and Philip K. Dick.

Much like Orwell’s Big Brother in 1984, the government and its corporate spies now watch our every move.

Much like Huxley’s A Brave New World, we are churning out a society of watchers who “have their liberties taken away from them, but … rather enjoy it, because they [are] distracted from any desire to rebel by propaganda or brainwashing.”

Much like Atwood’s The Handmaid’s Tale, the populace is now taught to “know their place and their duties, to understand that they have no real rights but will be protected up to a point if they conform, and to think so poorly of themselves that they will accept their assigned fate and not rebel or run away.”

And in keeping with Philip K. Dick’s darkly prophetic vision of a dystopian police state—which became the basis for Steven Spielberg’s futuristic thriller Minority Report which was released 20 years ago—we are now trapped into a world in which the government is all-seeing, all-knowing and all-powerful, and if you dare to step out of line, dark-clad police SWAT teams and pre-crime units will crack a few skulls to bring the populace under control.

Minority Report is set in the year 2054, but it could just as well have taken place in 2022.

Seemingly taking its cue from science fiction, technology has moved so fast in the short time since Minority Report premiered in 2002 that what once seemed futuristic no longer occupies the realm of science fiction.

Incredibly, as the various nascent technologies employed and shared by the government and corporations alike—facial recognition, iris scanners, massive databases, behavior prediction software, and so on—are incorporated into a complex, interwoven cyber network aimed at tracking our movements, predicting our thoughts and controlling our behavior, Spielberg’s unnerving vision of the future is fast becoming our reality.

Both worlds — our present-day reality and Spielberg’s celluloid vision of the future—are characterized by widespread surveillance, behavior prediction technologies, data mining, fusion centers, driverless cars, voice-controlled homes, facial recognition systems, cybugs and drones, and predictive policing (pre-crime) aimed at capturing would-be criminals before they can do any damage.

Surveillance cameras are everywhere. Government agents listen in on our telephone calls and read our emails. Political correctness — a philosophy that discourages diversity — has become a guiding principle of modern society.

The courts have shredded the Fourth Amendment’s protections against unreasonable searches and seizures. In fact, SWAT teams battering down doors without search warrants and FBI agents acting as a secret police that investigate dissenting citizens are common occurrences in contemporary America.

We are increasingly ruled by multi-corporations wedded to the police state. Much of the population is either hooked on illegal drugs or ones prescribed by doctors. And bodily privacy and integrity has been utterly eviscerated by a prevailing view that Americans have no rights over what happens to their bodies during an encounter with government officials, who are allowed to search, seize, strip, scan, spy on, probe, pat down, taser, and arrest any individual at any time and for the slightest provocation.

All of this has come about with little more than a whimper from an oblivious American populace largely comprised of nonreaders and television and internet zombies, but we have been warned about such an ominous future in novels and movies for years.

The following 15 films may be the best representation of what we now face as a society.

Fahrenheit 451 (1966). Adapted from Ray Bradbury’s novel and directed by Francois Truffaut, this film depicts a futuristic society in which books are banned, and firemen ironically are called on to burn contraband books—451 Fahrenheit being the temperature at which books burn. Montag is a fireman who develops a conscience and begins to question his book burning. This film is an adept metaphor for our obsessively politically correct society where virtually everyone now pre-censors speech. Here, a brainwashed people addicted to television and drugs do little to resist governmental oppressors.

2001: A Space Odyssey (1968). The plot of Stanley Kubrick’s masterpiece, as based on an Arthur C. Clarke short story, revolves around a space voyage to Jupiter. The astronauts soon learn, however, that the fully automated ship is orchestrated by a computer system — known as HAL 9000 — which has become an autonomous thinking being that will even murder to retain control. The idea is that at some point in human evolution, technology in the form of artificial intelligence will become autonomous and human beings will become mere appendages of technology.

In fact, at present, we are seeing this development with massive databases generated and controlled by the government that are administered by such secretive agencies as the National Security Agency and sweep all websites and other information devices collecting information on average citizens. We are being watched from cradle to grave.

Planet of the Apes (1968). Based on Pierre Boulle’s novel, astronauts crash on a planet where apes are the masters and humans are treated as brutes and slaves. While fleeing from gorillas on horseback, astronaut Taylor is shot in the throat, captured and housed in a cage. From there, Taylor begins a journey wherein the truth revealed is that the planet was once controlled by technologically advanced humans who destroyed civilization. Taylor’s trek to the ominous Forbidden Zone reveals the startling fact that he was on planet earth all along. Descending into a fit of rage at what he sees in the final scene, Taylor screams: “We finally really did it. You maniacs! You blew it up! Damn you.” The lesson is obvious, but will we listen? The script, although rewritten, was initially drafted by Rod Serling and retains Serling’s Twilight Zone-ish ending.

THX 1138 (1970). George Lucas’ directorial debut, this is a somber view of a dehumanized society totally controlled by a police state. The people are force-fed drugs to keep them passive, and they no longer have names but only letter/number combinations such as THX 1138. Any citizen who steps out of line is quickly brought into compliance by robotic police equipped with “pain prods” — electro-shock batons. Sound like tasers?

A Clockwork Orange (1971). Director Stanley Kubrick presents a future ruled by sadistic punk gangs and a chaotic government that cracks down on its citizens sporadically.

Alex is a violent punk who finds himself in the grinding, crushing wheels of injustice. This film may accurately portray the future of western society that grinds to a halt as oil supplies diminish, environmental crises increase, chaos rules, and the only thing left is brute force.

Soylent Green (1973). Set in a futuristic overpopulated New York City, the people depend on synthetic foods manufactured by the Soylent Corporation. A policeman investigating a murder discovers the grisly truth about what soylent green is really made of. The theme is chaos where the world is ruled by ruthless corporations whose only goal is greed and profit. Sound familiar?

Blade Runner (1982). In a 21st century Los Angeles, a world-weary cop tracks down a handful of renegade “replicants” (synthetically produced human slaves). Life is now dominated by mega-corporations, and people sleepwalk along rain-drenched streets. This is a world where human life is cheap, and where anyone can be exterminated at will by the police (or blade runners). Based upon a Philip K. Dick novel, this exquisite Ridley Scott film questions what it means to be human in an inhuman world.

Nineteen Eighty-Four (1984). The best adaptation of Orwell’s dark tale, this film visualizes the total loss of freedom in a world dominated by technology and its misuse, and the crushing inhumanity of an omniscient state. The government controls the masses by controlling their thoughts, altering history and changing the meaning of words. Winston Smith is a doubter who turns to self-expression through his diary and then begins questioning the ways and methods of Big Brother before being re-educated in a most brutal fashion.

Brazil (1985). Sharing a similar vision of the near future as 1984 and Franz Kafka’s novel The Trial, this is arguably director Terry Gilliam’s best work, one replete with a merging of the fantastic and stark reality. Here, a mother-dominated, hapless clerk takes refuge in flights of fantasy to escape the ordinary drabness of life. Caught within the chaotic tentacles of a police state, the longing for more innocent, free times lies behind the vicious surface of this film.

They Live (1988). John Carpenter’s bizarre sci-fi social satire action film assumes the future has already arrived. John Nada is a homeless person who stumbles across a resistance movement and finds a pair of sunglasses that enables him to see the real world around him.

What he discovers is a world controlled by ominous beings who bombard the citizens with subliminal messages such as “obey” and “conform.” Carpenter manages to make an effective political point about the underclass — that is, everyone except those in power. The point: we, the prisoners of our devices, are too busy sucking up the entertainment trivia beamed into our brains and attacking each other up to start an effective resistance movement.

The Matrix (1999). The story centers on a computer programmer Thomas A. Anderson, secretly a hacker known by the alias “Neo,” who begins a relentless quest to learn the meaning of “The Matrix” — cryptic references that appear on his computer. Neo’s search leads him to Morpheus who reveals the truth that the present reality is not what it seems and that Anderson is actually living in the future — 2199.

Humanity is at war against technology which has taken the form of intelligent beings, and Neo is actually living in The Matrix, an illusionary world that appears to be set in the present in order to keep the humans docile and under control. Neo soon joins Morpheus and his cohorts in a rebellion against the machines that use SWAT team tactics to keep things under control.

Minority Report (2002). Based on a short story by Philip K. Dick and directed by Steven Spielberg, the film offers a special effect-laden, techno-vision of a futuristic world in which the government is all-seeing, all-knowing and all-powerful. And if you dare to step out of line, dark-clad police SWAT teams will bring you under control. The setting is 2054 where PreCrime, a specialized police unit, apprehends criminals before they can commit the crime. Captain Anderton is the chief of the Washington, DC, PreCrime force which uses future visions generated by “pre-cogs” (mutated humans with precognitive abilities) to stop murders.

Soon Anderton becomes the focus of an investigation when the precogs predict he will commit a murder. But the system can be manipulated. This film raises the issue of the danger of technology operating autonomously — which will happen eventually if it has not already occurred. To a hammer, all the world looks like a nail. In the same way, to a police state computer, we all look like suspects. In fact, before long, we all may be mere extensions or appendages of the police state — all suspects in a world commandeered by machines.

V for Vendetta (2006). This film depicts a society ruled by a corrupt and totalitarian government where everything is run by an abusive secret police. A vigilante named V dons a mask and leads a rebellion against the state. The subtext here is that authoritarian regimes through repression create their own enemies — that is, terrorists — forcing government agents and terrorists into a recurring cycle of violence. And who is caught in the middle? The citizens, of course. This film has a cult following among various underground political groups such as Anonymous, whose members wear the same Guy Fawkes mask as that worn by V.

Children of Men (2006). This film portrays a futuristic world without hope since humankind has lost its ability to procreate. Civilization has descended into chaos and is held together by a military state and a government that attempts to keep its totalitarian stronghold on the population. Most governments have collapsed, leaving Great Britain as one of the few remaining intact societies. As a result, millions of refugees seek asylum only to be rounded up and detained by the police. Suicide is a viable option as a suicide kit called Quietus is promoted on billboards and on television and newspapers. But hope for a new day comes when a woman becomes inexplicably pregnant.

Land of the Blind (2006). In this dark political satire, tyrannical rulers are overthrown by new leaders who prove to be just as evil as their predecessors. Maximilian II is a demented fascist ruler of a troubled land named Everycountry who has two main interests: tormenting his underlings and running his country’s movie industry. Citizens who are perceived as questioning the state are sent to “re-education camps” where the state’s concept of reality is drummed into their heads. Joe, a prison guard, is emotionally moved by the prisoner and renowned author Thorne and eventually joins a coup to remove the sadistic Maximilian, replacing him with Thorne. But soon Joe finds himself the target of the new government.

All of these films — and the writers who inspired them — understood what many Americans, caught up in their partisan, flag-waving, zombified states, are still struggling to come to terms with: that there is no such thing as a government organized for the good of the people. Even the best intentions among those in government inevitably give way to the desire to maintain power and control at all costs.

Eventually, as I make clear in my book Battlefield America: The War on the American People and in its fictional counterpart The Erik Blair Diaries, even the sleepwalking masses (who remain convinced that all of the bad things happening in the police state — the police shootings, the police beatings, the raids, the roadside strip searches—are happening to other people) will have to wake up.

Sooner or later, the things happening to other people will start happening to us.

When that painful reality sinks in, it will hit with the force of a SWAT team crashing through your door, a taser being aimed at your stomach, and a gun pointed at your head. And there will be no channel to change, no reality to alter, and no manufactured farce to hide behind.

As George Orwell warned, “If you want a picture of the future, imagine a boot stamping on a human face forever.”

Both worlds — our present-day reality and Spielberg’s celluloid vision of the future—are characterized by
widespread surveillance, behavior prediction technologies, data mining, fusion centers, driverless cars,
voice-controlled homes, facial recognition systems, cyborgs and drones, and predictive policing (pre-crime) aimed at capturing would-be criminals before they can do any damage.

Surveillance cameras are everywhere. Government agents listen in on our telephone calls and read our emails.
Political correctness — a philosophy that discourages diversity — has become a guiding principle of modern society.

The courts have shredded the Fourth Amendment’s protections against unreasonable searches and seizures. In fact, SWAT teams battering down doors without search warrants and FBI agents acting as a secret police that investigate dissenting citizens are common occurrences in contemporary America.

We are increasingly ruled by multi-corporations wedded to the police state. Much of the population is either hooked on illegal drugs or ones prescribed by doctors. And bodily privacy and integrity has been utterly eviscerated by a prevailing view that Americans have no rights over what happens to their bodies during an encounter with government officials, who are allowed to search, seize, strip, scan, spy on, probe, pat down, taser, and arrest any individual at any time and for the slightest provocation.

All of this has come about with little more than a whimper from an oblivious American populace largely
comprised of nonreaders and television and internet zombies, but we have been warned about such an ominous future in novels and movies for years.

The following 15 films may be the best representation of what we now face as a society.

Fahrenheit 451 (1966). Adapted from Ray Bradbury’s novel and directed by Francois Truffaut, this film depicts a-futuristic society in which books are banned, and firemen ironically are called on to burn contraband books—451
Fahrenheit being the temperature at which books burn. Montag is a fireman who develops a conscience and begins to question his book burning. This film is an adept metaphor for our obsessively politically correct society where virtually everyone now pre-censors speech. Here, a brainwashed people addicted to television and drugs do little to resist governmental oppressors.

2001: A Space Odyssey (1968). The plot of Stanley Kubrick’s masterpiece, as based on an Arthur C. Clarke short story, revolves around a space voyage to Jupiter. The astronauts soon learn, however, that the fully automated ship is orchestrated by a computer system — known as HAL 9000 — which has become an autonomous thinking being that will even murder to retain control. The idea is that at some point in human evolution, technology in the form of artificial intelligence will become autonomous and human beings will become mere appendages of technology.


In fact, at present, we are seeing this development with massive databases generated and controlled by the
government that are administered by such secretive agencies as the National Security Agency and sweep all websites
and other information devices collecting information on average citizens. We are being watched from cradle to
grave.

Planet of the Apes (1968). Based on Pierre Boulle’s novel, astronauts crash on a planet where apes are the masters
and humans are treated as brutes and slaves. While fleeing from gorillas on horseback, astronaut Taylor is shot
in the throat, captured and housed in a cage. From there, Taylor begins a journey wherein the truth revealed is
that the planet was once controlled by technologically advanced humans who destroyed civilization. Taylor’s trek
to the ominous Forbidden Zone reveals the startling fact that he was on planet earth all along. Descending into a
fit of rage at what he sees in the final scene, Taylor screams: “We finally really did it. You maniacs! You blew
it up! Damn you.” The lesson is obvious, but will we listen? The script, although rewritten, was initially drafted
by Rod Serling and retains Serling’s Twilight Zone-ish ending.

THX 1138 (1970). George Lucas’ directorial debut, this is a somber view of a dehumanized society totally
controlled by a police state. The people are force-fed drugs to keep them passive, and they no longer have
names but only letter/number combinations such as THX 1138. Any citizen who steps out of line is quickly
brought into compliance by robotic police equipped with “pain prods” — electro-shock batons. Sound like tasers?

A Clockwork Orange (1971). Director Stanley Kubrick presents a future ruled by sadistic punk gangs and a chaotic
government that cracks down on its citizens sporadically. Alex is a violent punk who finds himself in the grinding,
crushing wheels of injustice. This film may accurately portray the future of western society that grinds to a
halt as oil supplies diminish, environmental crises increase, chaos rules, and the only thing left is brute force.

Soylent Green (1973). Set in a futuristic overpopulated New York City, the people depend on synthetic foods
manufactured by the Soylent Corporation. A policeman investigating a murder discovers the grisly truth about
what soylent green is really made of. The theme is chaos where the world is ruled by ruthless corporations
whose only goal is greed and profit. Sound familiar?

Blade Runner (1982). In a 21st century Los Angeles, a world-weary cop tracks down a handful of renegade
“replicants” (synthetically produced human slaves). Life is now dominated by mega-corporations, and people
sleepwalk along rain-drenched streets. This is a world where human life is cheap, and where anyone can be
exterminated at will by the police (or blade runners). Based upon a Philip K. Dick novel, this exquisite
Ridley Scott film questions what it means to be human in an inhuman world.

Nineteen Eighty-Four (1984). The best adaptation of Orwell’s dark tale, this film visualizes the total loss of
freedom in a world dominated by technology and its misuse, and the crushing inhumanity of an omniscient state.
The government controls the masses by controlling their thoughts, altering history and changing the meaning of
words. Winston Smith is a doubter who turns to self-expression through his diary and then begins questioning the
ways and methods of Big Brother before being re-educated in a most brutal fashion.

Brazil (1985). Sharing a similar vision of the near future as 1984 and Franz Kafka’s novel The Trial, this is
arguably director Terry Gilliam’s best work, one replete with a merging of the fantastic and stark reality.
Here, a mother-dominated, hapless clerk takes refuge in flights of fantasy to escape the ordinary drabness of life.
Caught within the chaotic tentacles of a police state, the longing for more innocent, free times lies behind the
vicious surface of this film.

They Live (1988). John Carpenter’s bizarre sci-fi social satire action film assumes the future has already arrived.
John Nada is a homeless person who stumbles across a resistance movement and finds a pair of sunglasses that
enables him to see the real world around him. What he discovers is a world controlled by ominous beings
who bombard the citizens with subliminal messages such as “obey” and “conform.” Carpenter manages to make an
effective political point about the underclass — that is, everyone except those in power. The point: we, the
prisoners of our devices, are too busy sucking up the entertainment trivia beamed into our brains and attacking
each other up to start an effective resistance movement.

The Matrix (1999). The story centers on a computer programmer Thomas A. Anderson, secretly a hacker known by the
alias “Neo,” who begins a relentless quest to learn the meaning of “The Matrix” — cryptic references that appear
on his computer. Neo’s search leads him to Morpheus who reveals the truth that the present reality is not what it
seems and that Anderson is actually living in the future — 2199. Humanity is at war against technology which has
taken the form of intelligent beings, and Neo is actually living in The Matrix, an illusionary world that appears
to be set in the present in order to keep the humans docile and under control. Neo soon joins Morpheus and his
cohorts in a rebellion against the machines that use SWAT team tactics to keep things under control.

Minority Report (2002). Based on a short story by Philip K. Dick and directed by Steven Spielberg, the film
offers a special effect-laden, techno-vision of a futuristic world in which the government is all-seeing,
all-knowing and all-powerful. And if you dare to step out of line, dark-clad police SWAT teams will bring
you under control. The setting is 2054 where PreCrime, a specialized police unit, apprehends criminals before
they can commit the crime. Captain Anderton is the chief of the Washington, DC, PreCrime force which uses future
visions generated by “pre-cogs” (mutated humans with precognitive abilities) to stop murders. Soon Anderton
becomes the focus of an investigation when the precogs predict he will commit a murder. But the system can be
manipulated. This film raises the issue of the danger of technology operating autonomously — which will happen
eventually if it has not already occurred. To a hammer, all the world looks like a nail. In the same way,
to a police state computer, we all look like suspects. In fact, before long, we all may be mere extensions or
appendages of the police state — all suspects in a world commandeered by machines.

V for Vendetta (2006). This film depicts a society ruled by a corrupt and totalitarian government where
everything is run by an abusive secret police. A vigilante named V dons a mask and leads a rebellion against
the state. The subtext here is that authoritarian regimes through repression create their own enemies —
that is, terrorists — forcing government agents and terrorists into a recurring cycle of violence.
And who is caught in the middle? The citizens, of course. This film has a cult following among various underground
political groups such as Anonymous, whose members wear the same Guy Fawkes mask as that worn by V.

Children of Men (2006). This film portrays a futuristic world without hope since humankind has lost its ability
to procreate. Civilization has descended into chaos and is held together by a military state and a government
that attempts to keep its totalitarian stronghold on the population. Most governments have collapsed, leaving
Great Britain as one of the few remaining intact societies. As a result, millions of refugees seek asylum only
to be rounded up and detained by the police. Suicide is a viable option as a suicide kit called Quietus is
promoted on billboards and on television and newspapers. But hope for a new day comes when a woman becomes
inexplicably pregnant.

Land of the Blind (2006). In this dark political satire, tyrannical rulers are overthrown by new leaders who
prove to be just as evil as their predecessors. Maximilian II is a demented fascist ruler of a troubled land
named Everycountry who has two main interests: tormenting his underlings and running his country’s movie
industry. Citizens who are perceived as questioning the state are sent to “re-education camps” where the
state’s concept of reality is drummed into their heads. Joe, a prison guard, is emotionally moved by the
prisoner and renowned author Thorne and eventually joins a coup to remove the sadistic Maximilian, replacing
him with Thorne. But soon Joe finds himself the target of the new government.

All of these films — and the writers who inspired them — understood what many Americans, caught up in their
partisan, flag-waving, zombified states, are still struggling to come to terms with: that there is no such
thing as a government organized for the good of the people. Even the best intentions among those in government
inevitably give way to the desire to maintain power and control at all costs.

Eventually, as I make clear in my book Battlefield America: The War on the American People and in its fictional
counterpart The Erik Blair Diaries, even the sleepwalking masses (who remain convinced that all of the bad things
happening in the police state — the police shootings, the police beatings, the raids, the roadside strip
searches—are happening to other people) will have to wake up.

Sooner or later, the things happening to other people will start happening to us.

When that painful reality sinks in, it will hit with the force of a SWAT team crashing through your door, a taser
being aimed at your stomach, and a gun pointed at your head. And there will be no channel to change, no reality
to alter, and no manufactured farce to hide behind.

As George Orwell warned, “If you want a picture of the future, imagine a boot stamping on a human face forever.”

By John W. Whitehead, Guest writer

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The thought of surrendering my basic freedom to choose what I want to eat, what to pay for it and where to eat it is may seem like an insignificant choice to some, but to me it is a basic right of living freely.
Those who think their lives would be so much simpler to be chipped, surveilled and hounded by some anonymous AI system are a threat to the freedom and liberty for ALL of us….including the them.

Catherine Austin Fitts brought it home with this hypothetical, with some embellishments: Let’s say you want to go buy some pizza and a beer, but cash no longer exists and you must use your digital wallet…

  1. New Covid restrictions mean your digital wallet is turned off outside a five-mile range.
  2. New “green” policies also turn off your digital wallet outside five miles.
  3. New “green” policies demand that your pizza no longer has real cheese or meat.
  4. New Monkeypox restrictions turn your car off within a two mile range.
  5. Your car is not charged anyway.
  6. You lapsed your mandatory donation to the DNC, therefore your digital wallet is under review.
  7. Your recent post on Defender bumped your social credit score below 5.0, the limit for an active digital wallet. (It was lowered earlier in the day by your misuse of pronouns).

I remember being shocked when out to dinner with friends and an old lady (who was once wonderfully independent)
said to her husband (a control freak), on scanning the menu, “Why don’t you tell them what I’d like…”
That is what these depraved WEF narcissists, who will nearly destroy the Earth before they’re stopped, are
doing to the rest of us. We must always resist them.

Distant Views Beatrice • 4 months ago


I understand your frustration. I agree with you that too many people are sitting idly by, allowing bureaucrats and the media to dis-empower them and make decisions for them. i have experienced this kind of resignation and overwhelming inability to make a choice with many people I have met, especially over the past two to three years.
One recent encounter with an elderly woman in the grocery typifies this ‘choice/decision’ exhaustion.
While looking at the selection of items in the deli, this woman commented, “Don’t you just want someone to make a decision for you so you don’t have to do it yourself?” My immediate response, which startled her was, “no way, that is one freedom I will never give up”!

The thought of surrendering my basic freedom to choose what I want to eat, what to pay for it and where to eat it is may seem like an insignificant choice to some, but to me it is a basic right of living freely.
Those who think their lives would be so much simpler to be chipped, surveilled and hounded by some anonymous AI system are a threat to the freedom and liberty for ALL of us….including the them.

It is widely believed that a specific group of influence known as neoconservatism has had an enormous influence on the war on terror. Even self-proclaimed conservatives, such as Stefan Halper and Jonathan Clarke judge that
the current brand of US policy against terrorism that allowed the war on Iraq “closely reflected the established
neo-conservative position and neo-conservative interventions in the policy process.” [2]

The most appropriate way to view neoconservatism is as a “special interest” or “faction”. Special interests are associations “representing the interests of their members to secure for themselves a privileged seat at the national decision-making table”. MIT professor Gene Grossman defines them as “any minority group of voters that shares identifiable characteristics and similar concerns”.[3] The neoconservative faction consists of intellectuals and elitists who tend to be of Jewish or Catholic background, many of whom seem to have lapsedto secular humanism.[4]

The group has also been identified as “unipolarism”, “democratic globalism”, “neo-Manifest Destinarianism”, “neo-imperialism”, “Pax Americanism”, “neo-Reaganism”, and “liberal imperialism”.

Its thrust is anti-human, anti-science, anti-nature, anti-truth, anti-freedom, and decidedly anti-Christ.
Its methods employ every weapon and technique available including sophisticated forms of propaganda and psyops.
Its objective is to crush the human spirit and make it bend the knee to a superclass of elitist, authoritarian
overlords who genuinely believe they are better than the rest of us.

The perpetrators have every intention of subjugating the masses to their rule, while trying to convince us it’s for our own good. They are master magicians and sly Svengalis casting spells of doom and gloom upon the world to keep people locked in a state of fear and paranoia.

There’s a war going on that no one is safe from. It’s a War of Inversion and an all-out assault against humanity.
It’s multipronged, relentless, and taking place simultaneously in every sphere of life.

Some wonder/believe that NAFTA, GATT, and Kyoto were set in place for this very purpose its selves by the NWO/WEF-Globalists.


As the transfer builds for the next 20 years, it involves the extraction of perhaps $2 trillion per year, from
the backs of these impoverished laborers. It would not appear accidental that Kyoto removed the costly pollution control measures from this giant economic build-up that would otherwise have been required.
The end result will be increased pollution of the biosphere on never imagined grand scale.

Yes, she was. “We are fast approaching the stage of the ultimate inversion: the stage where the government is free to do anything it pleases, while the citizens may act only by permission; which is the stage of the darkest periods of human history, the stage of rule by brute force.”

This time, Tucker is questioning why such a large number of former U.S. and even foreign intelligence spies, including Chinese, have been employed by Twitter. This is really big, creepy stuff. Bigger than most Tom Clancy novels, of which I have read many. Is Twitter really a gigantic intelligence operation pretending to be an Internet social media company? Not an unreasonable question that some are publicly asking now as a result of what Elon Musk has shockingly discovered, although Elon is understandably laying low on this worrisome reality about his newly acquired business. Pray for Tucker Carlson and Elon.

Speaking of creepy, there are too many creepy developments that we have had to report on recently.
One is that U.S. federal Associate Attorney General Vanita Gupta has admitted that the overturning of Roe v. Wade made it more “urgent” for the government to target pro-lifers. That’s why they are using the all-powerful Department of Justice and FBI, and a new “reproductive rights task force,” to go after pro-lifers and lay heavy charges under the FACE Act. We are somehow responsible for “insidious” challenges to “civil and constitutional rights.” Um, that would be the pot calling the kettle black. Right?

Creepy 2 is White House Press Secretary Karine Jean-Pierre calling Elon Musk’s criticism of Anthony Fauci
“incredibly dangerous.” Again, who is really the dangerous one here? How many lies have been told about the jabs, and how many millions have died or been maimed by these “safe and effective” “vaccines” that Anthony Fauci has strongly promoted and is still doing so as many more are dying every day – now including young children?

The creepiest person in today’s articles has to be Dr. Peter Hotez, who in a video on the World Health
Organization Twitter page states, “Anti-vaccine activism, which I actually call anti-science aggression,
has now become a major killing force globally.” Whoa! This professor from the Baylor College of Medicine
is obviously a genuine, five-star hater. Does the WHO not have a policy against hate-mongering?
Hotez should be charged for inciting violence against a massive class of people, including tens of thousands of physicians and scientists, simply for their views that contradict his on the Covid “vaccines.”

by Marcus LiBrizzi

from Reconstruction Website

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