The fixation on the One, and the obsession with a Virus; the Individual vs. the Collective Trance

by Jon Rappoport

October 4, 2021

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More than anything, this piece reflects my approach to my work. My work as a reporter, as a poet, as an individual.

When I wrote my first book in 1988, AIDS INC., I showed that HIV was not the cause of AIDS. In fact, there was no AIDS. That was a label slapped on a variety of health problems all stemming from lowered immunity.

These health problems were caused by a variety of factors, none of which had anything to do with “the virus.”

The major resistance to the book came from people who were conditioned to believe that every announced new disease had to be real, and every new disease had to have a single cause. I would call this ill-fated belief informational Hypnosis.

It’s very effective.

Look at the history of organized religion. Each Church has its single First Cause. Meaning God. “Our God is real. Yours isn’t.” “Our God is the One.”

Behind this farce is each organization telling individuals, “We have God. He is the One you should worship. Don’t go off on your own and find your own God. That doesn’t work.”

People are fixated on The One. The one God. The one Cause. The one Virus. And because they are fixated, leaders can sell them this One and that One and the other One.

In 1988, I saw the full absurdity of that con, with HIV.

During the decade following the publication of AIDS INC., I discovered that no one had proved HIV existed. There was no reason to believe it did. After all, you could say a man with purple hair and six arms lives on the moon, but then you carry the burden of proof, and if you can’t supply any, your hypothesis is null and void.

So the fixation on the One extends to the One that doesn’t exist at all.

At that point in my work, I could see I was plunging headlong into territory that was going to place me outside any semblance of the mainstream or even an acceptable alternative universe.

Why? Again, because people were fixated on the One, and I was calling that fixation Mind Control.

In a similar vein, in my work as a reporter, I was using up-against-wall logic to refute medical and political lies and cover stories. But then, when I was writing poetry, I was abandoning the traditional forms and thought processes (the “logic” of poetry) because they were stale and decaying. I wanted to take imagination to other places, without limit, and if the preferred hidebound internal connections in my poems were missing, so what?

This distinction between my work as a reporter and a poet confuses some people. They want one or the other. Not both, side by side. But I say this confusion is good. It can be productive. It can stimulate readers to think along new tracks.

I’m not obeying some arbitrary external standard that describes what I’m supposed to do. Whenever I sense I’m giving in to that standard, when I feel The Mechanical setting in, I stop. I stop and put myself back in the basic bath of WHAT DO I REALLY WANT TO DO? Answering that question sets me back on track(s).

A long time ago I figured out something. If I went along with the tide and tried to carve out a career as a conventional writer, I might succeed or I might fail. If I failed, it would be a double disaster, because I had failed at something I really didn’t want to do in the first place. If I failed to find an audience by writing what I wanted to write, I would have DONE WHAT I WANTED TO DO. I WOULD HAVE CREATED WHAT I WANTED TO CREATE.

Centralized authority wants to build a collective trance in which people believe they must think and do what falls inside certain boundaries.

Nowhere is this more evident, these days, than in the promoted idea that a virus is loose in the world. The one virus causing the one disease. In many articles, I’ve taken apart the myth of SARS-CoV-2 and disposed of it. In the process, I’ve discovered that the whole branch of medicine called Virology is a hustle and a broken down Church of true believers, who can’t and won’t shake off their delusions.

Once again, I’ve come to grips with people who are so hardwired in their trance they can only bray, “People are dying, it must be the (one) virus.” The logic of that proposition belongs in a garbage dumpster in a blind alley at midnight.

It’s right next door to, “They diagnosed Harry with COVID, he had shortness of breath, so they put him on a ventilator and sedated him with a drug that radically suppresses breathing and left him on the ventilator and he died because of the virus.”

In the realm of propaganda, willing victims select their preferred one idol. For example, Tony Fauci. His adoring worshippers need The One, so they choose him because he’s there on television, being interviewed by “the best people,” and he has a seal of approval from the White House, and he disagreed with Trump. This is called “following the science.” I would call it trailing behind a horse’s ass.

Over the decades, I’ve encountered many artists who stand for the widest freedom of expression and yet, when it comes to politics, they insist on absolute loyalty to the “prevailing culture.” Meaning the Left. I’ve also seen political libertarians who insist on freedom of thought, but believe all art since the 16th century is a perverse plot against “traditional values.”

At the bottom of these contradictions is, again, a fixation on The One. The one political point of view, the one acceptable art, the one acceptable Church…

And now we’re all dealing with the one tyranny that spells out “the one solution to the one virus.” And this tyranny is bent on subjugating many nations and imposing one government for one planet.

On every level, from the political to the psychological to the spiritual to the creative, THE ONE has always been the conditioned mind control reflex that imprisons the individual.

I’m against it. Always have been. Always will be.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Dangerous speech versus free speech; mobs of ignoramuses

by Jon Rappoport

September 28, 2021

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“For if Men are to be precluded from offering their Sentiments on a matter, which may involve the most serious and alarming consequences, that can invite the consideration of Mankind, reason is of no use to us; the freedom of Speech may be taken away, and, dumb and silent we may be led, like sheep, to the Slaughter.” George Washington, 1783

Many, many people believe that spreading COVID falsehoods can be so dangerous that censorship is absolutely necessary.

This view happens to be the central refuge of liars.

It turns out that big-time liars always want to censor their opponents. It’s the only leg they have to stand on. In an atmosphere of free discourse, they would fall.

And of course, who decides what is false and what is true? Who hangs out that shingle and makes judgments that affect the lives of millions of people?

There is an astounding level of ignorance here: many people believe “the truth” should carry the day. Once it is established, there is no need to permit freedom of speech.

These people have a very low ceiling of understanding. They’ve never explored what freedom of speech is all about. They’re citizens in name only.

“If someone says the vaccine is harmful, people will be dissuaded from taking it. That would be dangerous.”

Putting aside the fact that the vaccine is a destroyer, free speech implies living with danger. The remedy is intelligence and knowledge. The only workable remedy is raising people’s ability to consider all sorts of judgments, opinions, and conclusions, without being irrationally swayed to one side or another.

Otherwise, we have Fascists on parade. Mobs of clueless ignoramuses.

Once upon a time, there was a never-never land called Dolt with millions of traffic lights. A writer penned, “Always cross the street when you’re facing a red light. Stay on the curb when the light is green.”

Outrage followed. The writer was censored for dangerous speech.

The rulers and their followers were so impressed with this victory, they established a national task force to root out falsehoods of all kinds and censor them. Pursuing this path, the society turned into a police state. And the majority of people approved.

We’re heading in that direction now.

“Strange it is that men should admit the validity of the arguments for free speech but object to their being ‘pushed to an extreme,’ not seeing that unless the reasons are good for an extreme case, they are not good for any case.” John Stuart Mill, 1859

It’s no surprise that modern civilization, intellectually based on a fool’s version of “science,” has built science as a new religion, with all the restrictions that organized religions have enforced.

After all, when the teachings of a man called Jesus were incorporated into a powerful Church, that Church set about censoring, imprisoning, torturing, and burning dissidents. As if Jesus would have approved.

Centuries later, people were shocked to learn this Church was rife with pedophile priests. I would be shocked to learn the Church isn’t filled with pedophiles.

Many are the OTHER secret crimes the men in power today are committing, given that they’re already relentlessly pushing a highly destructive vaccine into the arms of a billion people.

They HAVE TO demand censorship of dissidents.

So no, I’m not surprised that the press and social media and politicians are trying to censor COVID information which doesn’t serve their purposes.

Consider this. A week ago, at a standard FDA conference to discuss recommending COVID boosters, several scientists testified that convincing data to support the additional shots were entirely lacking. Two leading in-house FDA scientists had just resigned because they opposed the push for boosters. And finally, the FDA committee as a whole rejected the present need for boosters.

Yet the following day, the head of the NIH, and the White House itself, ignored the FDA and said that boosters were coming. Even the FDA was effectively censored.

There are thousands of scientists all over the world who strenuously oppose the official COVID narrative, and they can’t even get a glance from editors of medical journals, when they submit papers.

Talking news heads are feeding the population fast-food COVID science—a manufactured product consisting of synthetic bullshit about cases, deaths, the virus, the vaccine. It’s cardboard. And no dissenters allowed.

Since I stopped writing for mainstream and so-called alternative outlets in the early 1990s, I’ve gone my own way. As of this writing, I’m still here. My videos have been taken down. My site was hacked. We restored it. I’m still here.

I take freedom of speech seriously. No matter what.

Only low scum want to censor us. They make an absurd pretense of claiming WE’RE liars. But we don’t want to censor THEM. That’s called a clue.

Right now, as I write this, Australian men with balls, union construction workers, are staging an insurrection against their union bosses, who are colluding with corrupt politicians to enforce COVID restrictions and vaccine mandates. The workers are facing off against cops in the street. This is one of the biggest stories in the world.

The New York Times and the Washington Post and the news networks should be leading with it and covering breaking developments wall to wall. Instead, they’re downplaying and hiding it. These news whores and their pimps are holding the line for Fascism.

I’ll close, for now, with this story. Months ago, an “alternative journalist” approached me, urging me to stop saying the pandemic virus doesn’t exist.

I sized up the complaint. It seemed to have several roots. One, I was “confusing people,” who couldn’t decide what to believe. Two, there were far more important COVID issues that needed to be explored. And three, that journalist was receiving emails citing my work and asking for clarification—and this was bothersome, especially when the emailers agreed with me.

The journalist off-handedly and blithely assumed I would obey and stop writing about the existence of the virus.

Of course, I reacted oppositely. I always do. I dig deeper and farther along the track I’m pursuing. In this case, I found and wrote about more evidence for the non-existence of the virus.

That issue happens to be CENTRAL and BASIC to the whole COVID story. And if writing about it confuses some people, that’s what happens when free speech is still possible. There’s nothing wrong with confusion. It’s productive. It’s supposed to be a prelude to more profound understanding.

I’m not running some sort of operation that seeks uniformity.

That journalist was trying to censor me by having me censor myself.

No dice.

“He who stifles free discussion, secretly doubts whether what he professes to believe is really true.” Wendell Phillips, 1870

Those fools who can only “opt for the truth” will never grasp the meaning of the 1st Amendment. They’ll never see the freight train of Fascism coming.


power outside the matrix

(To read about Jon’s collection, Power Outside The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Pandemics are staged on Television

Network: the last great film about The News

by Jon Rappoport

September 22, 2021

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The official COVID narrative—more absurd with each passing day—is being transmitted on television. That is a cardinal fact.

The absurdity called TELEVISION NEWS was depicted in a giant of a film, NETWORK (1976)…


When a new epidemic is launched and promoted, despite the absence of good science and good evidence, it is jacked up on television screens. Images begin to flow:

An emergency medical vehicle on a street. EMT personnel, in hazmat suits, load a man strapped down to a stretcher, into the van. On another street, a man collapses on the sidewalk. We see a quarantined man sitting inside a huge plastic bubble on a third street. Cut to an airport lobby. Soldiers are patrolling the space among the crowds. Cut to a lab. Close-up of vials of liquid. Camera pulls back. Techs in light green scrubs are placing the vials into slots of a table-top machine. Auditorium—a man on a platform, wearing a doctor’s white coat, is pointing a wand at a large screen, on which a chart is displayed, for the audience. Back to the street. People are wearing face masks.

These images wash over the television viewer. Meanwhile, the anchor is imparting his prepared meaning: “The government today issued a ban on all travel into and out of the city…hundreds of plane flights have been cancelled. Scientists are rushing to develop a vaccine…”

The television audience has an IMPRESSION of knowing something. They’re in the flow, the flow of the news…they’re in the images…

Network, the 1976 film written by Paddy Chayefsky, reveals what media kings would do if they unchained their basic instincts and galloped all the way into the madness of slash-and-burn Roman Circus.

The audience is jaded beyond recall. It needs new shocks to the system every day. The adrenaline must flow. The line between reporting the news and inventing it? Erase it. Celebrate the erasure. Watch ratings soar.

Why pretend anymore? Why spend countless hours preparing and broadcasting synthetic artificial news, as if it were real? Does the audience care about such niceties? The audience just wants action.

The film proceeds from these premises.

Arthur Jensen, head of the corporation that owns the Network, speaks to unhinged Network newsman, Howard Beale, who has revealed, on-air, a piece of the real planetary power structure in a few moments of sanity: “You have meddled with the primal forces of nature, Mr. Beale, and I won’t have it!! Is that clear?!… You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU WILL ATONE!”

Head of programming for the Network, Diana Christensen, shifts the whole news department over to the entertainment division.

Thus emerge new shows with soaring ratings: Howard Beale, [Religious] Prophet of the Air Waves; The Mao Tse-Tung Hour, in which a guerrilla group films itself carrying out armed bank robberies; and Sybil the Soothsayer, a Tarot reader.

Diana becomes the network’s new executive star.

There is no longer even a pretense of a need for news anchors to appear authoritative, objective, or rational.

Diana Christensen is unstoppable. She sees, with burning clarity, that audiences are bored to the point of exhaustion; they now require, as at the end of the Roman Empire, extreme entertainment. They want more violence, more insanity, out in the open. On television.

In promoting her kind of news division, she tells network executives:

“Look, we’ve got a bunch of
hobgoblin radicals called the
Ecumenical Liberation Army who
go around taking home movies
of themselves robbing banks.
Maybe they’ll take movies of
themselves kidnapping heiresses,
hijacking 747’s, bombing bridges,
assassinating ambassadors.
We’d open each week’s segment
with that authentic footage,
hire a couple of writers to
write some story behind that
footage, and we’ve got
ourselves a series…

“Did you see the overnights on the
Network News? It has an 8 in New
York and a 9 in L.A. and a 27 share
in both cities. Last night, Howard
Beale went on the air [as a newscaster] and yelled
‘BULLSHIT’ for two minutes, and I
can tell you right now that tonight’s
show will get a 30 share at least.
I think we’ve lucked into something…

“I see Howard Beale as a latter-day
prophet, a magnificent messianic
figure, inveighing against the
hypocrisies of our times, a strip
Savonarola, Monday through Friday.
I tell you, Frank, that could just
go through the roof…Do you want to figure out
the revenues of a strip show that
sells for a hundred thousand bucks
a minute? One show like that could
pull this whole network right out
of the hole! Now, Frank, it’s being
handed to us on a plate; let’s not
blow it!”

Television in the “real world” isn’t all the way there yet, but it’s close.

In Network, Diana Christensen personifies the news. She is the electric, thrill-seeking, non-stop force that is terrified of silence.

She lives and feeds on adrenaline. So does the viewing public. Nothing else ultimately matters. Ratings are the top line and the bottom line. The individual and his thoughts are completely irrelevant.

Howard Beale, over the cliff, a news man screaming on-air about the insanity of the news, is perfectly acceptable, because the audience is simply responding to Beale’s inchoate outrage and their own. Nothing deeper is explored. What could have resulted in a true popular rebellion is short-circuited. Beale becomes a crazy loon, a novelty item. Yet one more distraction.

When, in a brief interlude of clarity, he begins telling his audience about the takeover of society by mega-corporations and mega-money, his show droops. Ratings collapse. Diana is no longer interested in him; she wants to sack him.

However, Arthur Jensen, the head of the corporation that owns the television network, wants to keep Beale on the air, as a messenger of the “galactic truth” about the beneficial integration of all human activity under the rubric of global money and global power. He converts Beale to his cause.

Diana sees only one way out of this ratings disaster: kill Beale; on-air; during his show. And so it is done.


Network also shows us the audience becoming actor, player, participant. The audience is jumping out of its skin to be recognized, courted, and adored as a mighty rolling force embodying no particular meaning.

Audience wants to be a star. Audience wants to BE news; audience wants its actions to be shown on television. That establishes its legitimacy. Nothing else is necessary.

Diana knows it, and she is more than willing to accommodate this frantic desire, if only her bosses will let her go all the way.

The best film ever made about television’s war on the population, Network stages only a few minutes of on-air television.

The rest of the film is dialogue and monologue about television. Thus you could say that, in this case, word defeats image. Which was scriptwriter Paddy Chayefsky’s intent.

Even when showing what happens on the TV screen, Network bursts forth with lines like these, from newsman Howard Beale, at the end of his rope, on-camera, speaking to his in-studio audience and millions of people in their homes:

“So, you listen to me. Listen to me! Television is not the truth. Television’s a god-damned amusement park. Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, sideshow freaks, lion tamers, and football players. We’re in the boredom-killing business… We deal in illusions, man. None of it is true! But you people sit there day after day, night after night, all ages, colors, creeds. We’re all you know. You’re beginning to believe the illusions we’re spinning here. You’re beginning to think that the tube is reality and that your own lives are unreal. You do whatever the tube tells you. You dress like the tube, you eat like the tube, you raise your children like the tube. You even think like the tube. This is mass madness. You maniacs. In God’s name, you people are the real thing. We are the illusion.”

It is Beale’s language and the passion with which he delivers it that constitutes his dangerous weapon. Therefore, the Network transforms him into a cheap religious figure, whose audience slathers him with absurd adoration.

Television’s enemy is the word. Its currency is image.

Beale occasionally breaks through the image and defiles it. He cracks the egg. He stops the picture-flow. He brings back the sound and rhythm of spoken poetry. That is his true transgression against the medium that employs him.

The modern matrix has everything to do with how knowledge is acquired.

Television, in the main, does not attempt to impart knowledge. It strives to give the viewer the impression that he knows something. There is a difference.

The impression of knowing is a feeling, a conviction, a belief the viewer holds, after he has watched moving images on a screen and listened to a narrator. THIS is what the viewer prefers. He wants no part of knowledge.

A basic premise of modern age is: “everything is (connected to) everything.” This fits quite well with the experience of watching video flow.

Example: we see angry crowds on the street of a foreign city. Then young people on their cell phones sitting in an outdoor café. Then the marble lobby of a government building where men in suits are walking, standing in groups talking to each other. Then at night, rockets exploding in the sky. Then armored vehicles moving through a gate into the city. Then clouds of smoke on another street and people running, chased by police.

A flow of consecutive images. The sequence, obviously, has been assembled by a news editor, but the viewing audience isn’t aware of that. They’re watching the “interconnected” images and listening to a news anchor tell a story that colors (infects) every image: “This is revolution for democracy, created by the technology of cell phones…”

Viewers thus believe something. Television has imparted a sensation to them.

Therefore: a short circuit occurs in the mind.

When you export this pattern out to a whole society, you are talking about a dominant method through which “knowledge” is groped and held close.

“Did you see that fantastic video about the Iraq War? It showed that Saddam actually had bioweapons.”

“Really? How did they show that?”

“Well, I don’t remember. But watch it. You’ll see.”

And that’s another feature of the modern acquisition of “knowledge”: amnesia about details.

The viewer can’t recall key features of what he saw. Or if he can, he can’t describe them, because he was inside them, busy building up his impression of knowing something.

Narrative-visual-television story strips out and discards conceptual analysis. To the extent it exists, it’s wrapped around and inside the image and the narration.

Paddy Chayefsky made his pen a sword, because he was writing a movie about television, against television. He was pitting Word against Image.

When a technology (television) turns into a method of perception, reality is turned inside out. People watch TV through TV eyes.

Mind control is no longer something merely imposed from the outside. It is a matrix of a self-feeding, self-demanding loop.

Willing Devotees of the Image WANT images, food stamps of the programmed society.

The triumph of Network is that it makes its words win over pictures, IN a picture, IN a film.


A pandemic, the false pandemic I’ve been rejecting in many articles, is delivered through video flow and narration. Stacked and cut images.

There is no challenge to the flow in any basic way, through the intrusion of actual knowledge, because that would shut down the parade of images and nullify the reasons for broadcasting them in the first place.

The old theater adage, “the show must go on,” when adapted for television, becomes, “the flow must go on.” Once its course is set, there can be no turning back.

The television audience, imprisoned in homes, rides the river…


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The Galactic Tribunal grills Bill Gates

by Jon Rappoport

September 14, 2021

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We don’t know how Bill Gates was transported to a Galactic proceeding, and we only have fragments of the interrogation. But because no court on Earth would deliver justice, those distant powers intervened.

A judge read an unusual opening statement, which apparently is presented before every trial:

“In our high civilization, we’ve fulfilled the ancient prophecy, THE LOST SHALL BE FOUND. There is no barrier between those of us who live here in the flesh and those most close to us who’ve departed this life. We experience joy with them in dimensions far greater than this. Why then do we bother to conduct these trials? Because we also fight for justice. We will not turn our backs on that ideal.”

FRAGMENT 1: …Mr. Gates, it’s time for the truth. How long did you plan the pandemic before launching it?

Why am I forced to tell the truth?

Because this is a place for conscience.

Will you torture me if I decline?

We’ll keep asking until you answer honestly, no matter how long it takes.

Who can I pay? I’m rich.

Denied. We don’t want money.

How about land? I can deliver you a large colony on Earth. A whole country. Maybe even Europe.

No.

I could create a medical system for you that would dazzle your minds. On Earth, the Nobel Committee should give me the Prize for my efforts, but they don’t have the balls. Did Melinda put you up to kidnapping me? I demand my rights…

FRAGMENT 2: …The pandemic narrative was simply the occasion for establishing a worldwide dictatorship?

We needed a pretext. There were many meetings over the course of 25 years. We decided early on that a medical story was our best option. It appears to be politically neutral.

On Earth, the modern religion is science.

Exactly. So if we could get out in front of that trend and create a medical scenario of threat and impending destruction, we could apply just enough coercion to control the population.

But you weren’t conducting real science.

We were inventing the appearance of it. We had so-called experts in our camp. They would take the lead. The masses have no way of distinguishing science from fantasy…

FRAGMENT 3: In the planning stage prior to the declaration of a pandemic, what were the vital elements?

I’m most proud of our messaging organization. We had the news media. We had government leaders. We had recognized medical experts. But you see, in that type of operation, you can’t afford defections. The seal has to be tight. Ours was. Over the years, through money, through influence, in some cases through threats, we had built a network of unity and compliance.

You’re proud, you say?

Why, yes. It took work. Much work. You don’t lock up all the key sources of information on a planet overnight.

So it was the message you were aiming for, rather than the truth.

Of course. There was no pandemic. We had to make it seem there was. Convincingly.

You were heading a sales force.

Exactly. The whole idea was to make the buying compulsory…

FRAGMENT 4: …You had planned the lockdowns?

Years in advance. Then, at the right moment, China pulled the trigger, setting the example. When my World Health Organization praised China, other nations followed suit and imprisoned their populations.

So the Chinese regime’s lockdowns were definitely part of the advance planning.

Yes. That was crucial. The government there wasn’t fully on board with the globalist future we set our sights on. China is, first and foremost, for China. But we had enough cooperation from them to make it work.

And social media? You had them on your side from the beginning?

That was easy. Their leaders are willing and compliant. They’re afraid to go against our medical consensus. And they’re globalists. In the long run, they want world government, too.

As do the controlled media?

Yes. Putting the right people in place in the news industry has been a decades-long proposition.

You wanted a planet that was a prison.

Yes.

And the pretext again?

The scenario? There is a deadly virus sweeping across Earth, and in order to stop it, we have to lock down countries…and then inject everyone with a vaccine.

But there was no virus?

Among us, there were arguments on both sides of that question. But if it existed, it certainly wasn’t any more dangerous than the flu. We had to make it seem very, very dangerous.

Through pronouncements to that effect.

Yes…

FRAGMENT 5: …You want depopulation?

We have to have it. You can’t run a planet when 8 billion people are living on it. It’s impossible. The vaccine is the weapon. But not just the COVID vaccine. Vaccines before it and those coming in the future.

And all those deaths will be laid at the door of pandemics?

Yes. “The virus did it.”

And you’re willing to murder all those people.

Hard choices dictate the outcomes of events. A better life for some, rather than a terrible life for all. That’s my choice.

Are you listening to yourself, Mr. Gates?

I always listen to myself.

FRAGMENT 6: …I want to return to the messaging effect you created. It’s difficult for us to understand how you managed it…why so many leaders in their fields went along with your false science.

It was a combination of things. Many people are true believers. Scientists talk, and they believe. Other people wanted money. We paid them money. Certain resistant politicians were threatened. We set an example with several assassinations. As you build a consensus, you reach a threshold where the tide is in your favor. Then people ride it with you, out of fear of excommunication if they don’t. Media leaders were given to understand that the pandemic was the gateway into a global governance system. And the system was inevitable.

What about Anthony Fauci?

He’s a little man, a striver, who wants to be accepted in elite circles. I recruited him a long time ago…

FRAGMENT 7: …You yourself have given much money to media companies.

I praised their work, gave them money, and they showed loyalty to me. You see, life runs on stimulus-response. I make use of that principle on a worldwide basis. My colleagues and I provide calculated stimuli, and the population, in all areas of life, responds as we predict.

You view humans as machines.

Well, they are.

But you and your colleagues aren’t.

We’re of a higher order. We can stand outside stimulus-response and operate the levers.

As you sit here, Mr. Gates, you don’t believe you’re confessing to crimes. You’re proud of what you’ve done.

Of course.

Listen to me carefully now. We know enough of what you are, in order to pass sentence on you. But we know a great more than that. Like every individual, you have a greater dimension. We could show it to you. We could compel you to experience it. If we did, you would come apart at the seams. You would understand your own evil actions in a way that is undeniable.

…I don’t like the sound of that. What are you talking about?

I think you have an inkling of what I mean. The experience we could compel you to have is one you yourself, on your own, will come face to face with, some day. Not in your present life. Afterwards, at some point. There is no telling when, but it will happen.

You mean some supposed higher power will force it on me?

No, Mr. Gates. It’s much worse than that. You’ll force it on yourself.

Why would I do that?

Because although you’ve embraced crime and destruction, somewhere inside yourself you also understand The Good. And in that understanding, you can potentially live in joy and peace. As anyone can.

You’re not making sense.

You’re beginning to see I am making sense.

I don’t like this.

Why would you like it, given what you’ve made of your life and lives of others?

You’re trying to pass off some kind of religious nonsense on me.

Far from it. We don’t have churches in this place, Mr. Gates. We don’t need faith in things unseen. We’ve already seen.

I want to go home.

You will.

You’re not going to kill me?

So you can blame us for what you’re doing to yourself?

You’re insane.

We’ve opened up just a bit of light here for you.

Why?

Because although we’re a just people and don’t need justice for ourselves, we will exercise it on behalf of others, who’ve been harmed.

This is ridiculous.

Even the worst murderers have it in themselves to become good. They can cross that bridge.

No they can’t.

We can hear voices, Mr. Gates. Many voices are telling us to put you to death.

Then why don’t you? Go ahead.

We’re doing something much worse. We’re imposing this sentence…YOUR FATE IS IN YOUR OWN HANDS. That sentence is real. It carries weight. As you’ll discover.

It’s meaningless.

Take Mr. Gates away. He’s about to become ill. Take him home…

You don’t have the courage to kill me. You’re cowards.

I’ve heard that refrain from hundreds of murderers in this court…they all want a quick death. We don’t give it to them…

Kill me.

Take him home.

You did something to my mind.

We heard your confession of crimes. Mass imprisonment and murder.

Then destroy me. I throw myself on the mercy of this court.

Goodbye, Mr. Gates.

This is just a dream.

If it is, it’s your dream. You have to ask why you’re presenting it to yourself…


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The Pandemic Pattern—how the illusion is built

by Jon Rappoport

September 8, 2021

(To join our email list, click here.)

This article is based on my study and investigation of so-called epidemics over the past 30 years.

In the case of COVID-19, I’ve written at least one piece covering, in detail, each main element of the illusion. Here, I’m laying out the pattern. It is virtually the same for each fake epidemic.

ONE: Through many meetings, exercises, planning sessions, a structure is welded in place to promote and launch the IDEA of an epidemic. World Health Organization, CDC, influential public health officials attached to governments around the world, etc., participate in these meetings.

TWO: There is a purported incident. An outbreak. The most obvious cause is intentionally overlooked. For example, horrendous air pollution, or the grotesque feces and urine pollution on a giant commercial pig factory-farm. Instead, the world is told a new virus has been found. Local researchers, if any, are augmented by researchers from CDC, WHO.

THREE: There is no air-tight chain of evidence explaining exactly how the purported new virus was discovered. From details released, there is NO proof of discovery. Indeed, conventional methods of virus-isolation are bogus fabrications.

FOUR: But WHO/CDC tells the world this is an epidemic in the making, caused by the new virus. The promotion and propaganda/media apparatus moves into high gear. Ominous pronouncements.

FIVE: Diagnostic tests for the fictitious new virus are rolled out. They spit out false “proof of infection” like coins from a jackpot slot machine. These false-positives are an inherent feature of the tests.

SIX: Thus, all case numbers and death numbers, which are based on the tests, are rendered meaningless. And…they were already meaningless, because the supposed new virus “being tested for” was never discovered in the first place.

SEVEN: Nevertheless, these tests (plus useless eyeball diagnosis) are used to build official reports on case numbers. For the duration of the “epidemic,” reports keep coming, and escalating numbers are trumpeted. Within the basically meaningless structure of these reports, there is fiddling with totals, to make them more impressive and frightening.

EIGHT: Real people are really getting sick and dying, but for the most part, they are people who are dying from traditional and long-standing conditions—flu-like illness, pneumonia, other lung infections, etc. These people are “re-packaged” under the new epidemic label—e.g., “COVID”. The official description of the “new epidemic disease”—the clinical symptoms—is sufficiently general to easily allow this re-packaging.

NINE: If there is new illness, it can be explained by causes having nothing to do with the purported new virus. For example, a toxic vaccine campaign. A highly destructive drug. Highly toxic pesticides.

TEN: Over time, the definition of the epidemic is arbitrarily widened to include more symptoms and clinical features and test results, in order to inflate case numbers.

ELEVEN: Control of information about the “epidemic” is hardened at the top. The talking heads, from the press and public health agencies, know as much about actual science as rabbits know about drone strikes. But they are “in charge.” Dissident information is attacked and censored.

TWELVE: Medical drugs and procedures (e.g., ventilators) used to treat patients are devastatingly harmful. If a vaccine is rolled out, it, too, is toxic. Illness and death resulting from these and other medical attacks are counted as “epidemic cases caused by the virus.”

THIRTEEN: ABOVE ALL OTHER ILLUSIONS, the main deception is: “the epidemic is one disease or syndrome caused by one germ.” This is sold with unceasing propaganda. Most people fall for it. They will even argue among themselves about which “it” is the single cause of the “it” disease. There is no “it” cause or “it” disease.

FOURTEEN: The public is sold lie after lie about contagion and the “spread” of the “it.”

FIFTEEN: The public chants (as if no one has ever died before), “People are dying, it must be the virus.”

SIXTEEN: The virus fairy tale always functions as a cover story for government or corporate or medical crimes. It obscures and hides these crimes. For example, a large factory is spewing horrendous pollution into the ground and water of an area, and people are getting sick and dying? Wait, the researchers say, the cause is actually a new virus no one has ever seen before.

As I wrote at the outset of the COVID illusion, the only difference this time is the weight of the lies—because they led to the lockdowns and the economic devastation. This is West Nile, SARS, Swine Flu, Zika, writ large. And of course the COVID vaccine is massively destructive.

Needless to say, the persons and groups responsible for launching these illusion-operations must hide their crimes.

The criminals have their weapons. Among their most powerful: control of the press, and arcane technical language which pretends to relevance. This language is so dense, the uninitiated stand no chance of penetrating it.

For instance, researchers can babble for hours about their vaunted diagnostic test, the PCR. However, the simple truth is, the test has never been vetted. The test has never been tested in the real world outside the lab.

I have written about this extensively. Using a little guideline called SCIENCE, you would “test the test” by lining up, say, a thousand patients, some healthy, some sick from a supposed virus. Tissue samples would be taken from each patient.

PCR mavens would run these samples through their equipment, reporting which patients show what they call high “viral load.”

This means: these particular patients have millions and millions of virus actively replicating in their bodies, and they will be unmistakably and visibly sick.

The PCR princes would then announce, “Patients 3,45,65,76,132…are all definitely sick.”

Now we un-blind the study and see what’s what and who’s who. Are these designated patients ill or are they running marathons? That’s called simple scientific method. Not technical gobbledygook.

This chunk of research has never been done. It never will be done. It’s too real. Too naked. Proponents of the PCR would have too much to lose, if their assessments of who are healthy and who are sick turned out to be absurdly wrong, and their arcane technical rhetoric about the PCR ended up being useless gibberish.

I include this illustration to indicate there are, indeed, ways of exposing professional liars, if you change the venue on them, if you use common sense, if you stand outside their self-appointed temples of mystical pretense and observe what their lies look like when you boil them down to human terms…

COVID is a fraud from top to bottom. From beginning to end.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Genetic baloney in thick slices

by Jon Rappoport

July 8, 2021

(To join our email list, click here.)

Gene research companies tend to come and go. They start out banging and popping like fireworks in the sky, and then they fade out—selling themselves to larger outfits who’ve hired better liars…

Once upon a time, it sounded easy. Start with a disease, find the gene responsible for the disease, and correct the problem.

Then, researchers wondered, was disease the result of one gene or a group of genes acting together?

Either way, the proof would be in devising cures for diseases using gene therapy. “Not yet, but soon…”

And regardless, the major need was: money. Lots and lots of money.

This need required good PR people. “We have to pump up the idea that we’re on the edge of tremendous breakthroughs. We’re always on that edge…”

This hype also needed to obscure the fact that there wasn’t (and isn’t) ANY gene cure for ANY disease.

As time passed, lack of cure could be a problem. In fact, it could mean curing disease was not a genetic undertaking at all. What about environment? Toxicity? Malnutrition? Poverty? In order to raise money, those factors would have to be pushed back out of view.

Instead, the PR people would need to flood the news with positive glow around the subject of gene research. Also known as exaggeration. Or bullshit.

You can spot the key terms in these articles. POSSIBLE, SHOULD, COULD, EXPECTED TO, SEEMS, ON THE HORIZON, MAY BE, COULD LEAD TO, EVENTUALLY, and of course, the ever-popular BREAKTHROUGH.

I dug back in my files and found a piece I wrote in 2011. As you’ll see, the “breakthroughs” touted then haven’t panned out so far. You don’t read about them in the press these days. The PR pros have moved on to other exaggerations.

The first 2011 article I cited was from Reuters, headlined: SCIENTISTS FIND “MASTER SWITCH” GENE FOR OBESITY. Here are a few choice tidbits. Note the key terms I just mentioned.

“…and say it should help the search for treatments…”

“…the regulating gene could be [a] target for drugs to treat…”

“…seems to act as a master switch…”

“We are working hard…to understand these processes and how we can use this information to improve treatment…”

Sure. You bet.

Zero results.

Next, a 2011 blockbuster piece in the Financial Times. The headline read: SCIENTISTS FIND GENETIC LINK TO DEPRESSION.

Standard trumpet blaring.

Here are the text nuggets. Again, note key terms.

“The discovery…is expected to lead to a better biological understanding of the condition and eventually to more effective antidepressants…”

“…as possibly for the first time we have found a genetic locus for depression.”

“…is likely to pin down the gene responsible…”

“…which may be the basis for designing more effective antidepressants…”

Sure. You bet.

Zero results.

Moving ahead in time—From immunology.org: “On 17 December 2015, the journal Science voted [gene-editing tool] Crispr-Cas9 ‘Breakthrough of the Year’, saying that it had ‘matured into a molecular marvel’. It is already being used in cancer immunotherapy to edit a patient’s own T-cell genome in order to remove the gene that ‘tells’ these immune cells not to target cancerous tissue.

It’s already being used—but where are the cures? Nowhere.

Anybody out there want to partner with me in launching a new company? This is a major winner. It covers a very broad area. Actually, there is no human endeavor it doesn’t cover. The name of the company? MAYBE COULD BE INC.

“We’re always on the edge and the frontier. We’re always breaking through. We’re always raising money. We’re always pumping our stock. We’re always ready to sell the company to a sucker with deep pockets.”

Let’s look at another type of gene research organization. This one happens to be the largest single medical research outfit in the world. It’s part of the US government: the National Institutes of Health (NIH). Their PR is different. They’re hedging their bets and covering their bases in every possible way. They’re saying YES, NO, AND MAYBE all at once. Of course, they can get away with it, because they run on taxpayer money. Their annual budget is a formidable $30 billion. Grit your teeth and read through their text that explains “genetic diseases”:

“A genetic disorder is a disease caused in whole or in part by a change in the DNA sequence away from the normal sequence. Genetic disorders can be caused by a mutation in one gene (monogenic disorder), by mutations in multiple genes (multifactorial inheritance disorder), by a combination of gene mutations and environmental factors, or by damage to chromosomes (changes in the number or structure of entire chromosomes, the structures that carry genes).”

“As we unlock the secrets of the human genome (the complete set of human genes), we are learning that nearly all diseases have a genetic component. Some diseases are caused by mutations that are inherited from the parents and are present in an individual at birth, like sickle cell disease. Other diseases are caused by acquired mutations in a gene or group of genes that occur during a person’s life. Such mutations are not inherited from a parent, but occur either randomly or due to some environmental exposure (such as cigarette smoke). These include many cancers, as well as some forms of neurofibromatosis.”

That is a DON’T BLAME US statement. “Don’t blame us if a disease we thought was genetic turns out to be something else. Don’t blame us if it’s 65.34 percent environmental, 4.52 percent genetic, and 30.14 percent who knows what. Don’t blame us if toxicity triggers genetic malfunctions and, in the absence of the toxicity, there would be zero cases of the disease. Don’t blame us if a disease has nothing to do with genes. We’re ready to jump in any direction. We may not know much, but we’re sitting on a pile of cash. Don’t blame us if we don’t have any solid genetic cures for anything. We’re working hard. That’s all you can ask us to do.”

If there is one disease the public tends to believe can be cured by gene therapy, it is sickle cell anemia. The PR pros have done a good job there. However, sicklecellanemianews.com states: “Gene therapy is an experimental technique that aims to treat genetic diseases by altering a disease-causing gene or introducing a healthy copy of a mutated gene to the body.”

Experimental. Aims to. Not an established cure. The confusion arises because, as with a number of diseases, the researchers and the PR flacks claim they’ve definitely traced the illness to a gene or two. They’ve struck gold. But, as you read further, you discover they’re just not ready to cure the patient. Clinical trials are underway. More work in the lab is necessary. The pudding is there, but the proof of it isn’t. They claim to know the cause; they just don’t know what to do with it.

In science, that’s known as a hypothesis. Or more simply, a speculation. You say you’ve found an answer, but you can’t apply it. This means: you don’t have an answer.

“There is no doubt. We went down into the mine and we found evidence of extraordinary amounts of gold. We just don’t know how to get it out. What’s that? You want to see the gold? No, I’m sorry. The public isn’t allowed down there. Only the professionals can enter. But don’t worry. We’re very close to a breakthrough. The gold will emerge soon. Trust us.”

Trust you? Sure. How much do you need to finish the job? Fifty million? A hundred million? Let me call my broker and sell some stock. I’ll write you a check. Just put a plaque with my name on the wall. Let me know how I’ll profit on this venture. I’m in. I’ve always wanted to invest in MAYBE COULD BE INC.

In case you need to be reminded, the RNA COVID vaccines are genetic treatments. The PR pros tell us they are working quite well. And they’re remarkably safe.

If you’re buying that line, I have electric cars for sale. And they have wings. One charge in your garage, and they’ll get you from Earth to Mars in just under two hours.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The Delta Variant, the unvaccinated, the two Americas, and other propaganda fabrications

by Jon Rappoport

July 5, 2021

(To join our email list, click here.)

There is no Delta Variant.

Because there is nothing to vary FROM. In other words, as I’ve been proving for more than a year, SARS-CoV-2 doesn’t exist.

But the vaccine establishment and public health officials are pumping up the Delta hoax in order to convince more people to take the highly dangerous RNA COVID vaccines (genetic treatments).

Their narrative is a threat: in unvaccinated pockets, the Delta percolates and then breaks out, infecting many…followed by a further spread into communities of the vaccinated, where…

It can infect even those people.

Gibberish.

Every covert op starts out with a goal, an objective. Then an action-plan for achieving the goal. Then, the story that will be told to make it seem as if the unfolding actions are “responses to actual events in real time.”

The story about the Delta Variant, for example—from the beginning of the fake pandemic, tales of Variants were always part of the plan, in order to move closer to the goal of universal vaccination.

“When we see the scale of the resistance against vaccination, we’ll give them a Variant narrative, to induce more people to take the shot.”

“Right. We’ll say the Variant is more deadly and contagious than the original form of the virus.”

Another current element of propaganda: “we now have two Americas; the states with high rates of vaccination and those with low rates; this divide is intolerable; we can’t allow it.”

Why not? If millions of ignorant people insist on taking the destructive injection, and a smaller number refuse, and you have bordering states with vastly different vaccination policies and rates, then people have a choice. Live in state A or B.

But choice is not what the establishment wants. THAT’s why they whine and moan and warn about two Americas.

And from the beginning of the op, they knew there would be states with very different vaccination rates—and they knew they would be warning against it.

But wait. There’s more. The propaganda describes people/areas where the vaccination rates are low as: uneducated and Republican, or “people of color.”

All along, the planning involved special targeting of these groups. Demonizing the “uneducated Republicans,” and sympathizing with “people of color” as victims of disinformation.

“You blacks and Hispanics, it’s not your fault you believe the vaccine is dangerous. White anti-vaxxer Devils have been telling you lies.”

The total sum of all this propaganda? “We don’t want to, but in order to save the nation, we may have to institute mandated vaccination.”

The technical term is “layers of bullshit.”

In case you’ve missed the last 10,000 years of human history, political leaders have always called for Unity. It’s been their basic con.

Dissent and freedom of speech have always been afterthoughts, as far as these elitists are concerned.

Therefore, “some people vaccinated and some people unvaccinated” has nothing to do with science (especially since, as I’ve described in dozens of articles, the whole immunization hypothesis is a rank fake). Rather, it has to do with disunity.

“We can’t have division. It would destroy the foundation of this great nation. We must censor dissent from the artificial consensus.”

“Science” is a basic weapon for canceling and burning the 1st Amendment:

“We know what is true. So we don’t need to permit debate. It’s time-consuming, useless, distracting, and harmful. To be generous, we could say people have a right to be wrong, but why bother?”

Phalanxes of overgrown children emerging from colleges without a clue about logic or investigation have a special need to assert the value of their education. They fulfill this need by demanding everyone must follow the (unthinking) science they’ve mastered.

A minor obstacle like the 1st Amendment can be brushed aside as out of date.

“People used to have a right to argue in the old days, before the truth was established.”

The COVID narrative, from 2019 up to this moment, was planned. The art of propaganda involves making that narrative seem as if it’s composed of in-the-moment responses to unanticipated reactions of the public.

And the plan doesn’t require genius or even extensive data collection and profiling. Any reasonably intelligent person could sketch it out on a napkin during lunch. Why?

Because a hundred years of Rockefeller Germ Theory and vaccination lies have tuned up the population to respond to words like “outbreak” and “epidemic” in predictable ways.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Pandemics are staged on Television

Network: the last great film about The News

by Jon Rappoport

July 2, 2021

(To join our email list, click here.)

When a new epidemic is launched and promoted, despite the lack of good science and good evidence, it is jacked up on television screens. Images begin to flow:

An emergency medical vehicle on a street. EMT personnel, in hazmat suits, load a man strapped down to a stretcher, into the van. On another street, a man collapses on the sidewalk. We see a quarantined man sitting inside a huge plastic bubble on a third street. Cut to an airport lobby. Soldiers are patrolling the space among the crowds. Cut to a lab. Close-up of vials of liquid. Camera pulls back. Techs in light green scrubs are placing the vials into slots of a table-top machine. Auditorium—a man on a platform, wearing a doctor’s white coat, is pointing a wand at a large screen, on which a chart is displayed, for the audience. Back to the street. People are wearing face masks.

These images wash over the television viewer. Meanwhile, the anchor is imparting his prepared meaning: “The government today issued a ban on all travel into and out of the city…hundreds of plane flights have been cancelled. Scientists are rushing to develop a vaccine…”

The television audience has an IMPRESSION of knowing something. They’re in the flow, the flow of the news…they’re in the images…

Network, the 1976 film written by Paddy Chayefsky, reveals what media kings would do if they unchained their basic instincts and galloped all the way into the madness of slash-and-burn Roman Circus.

The audience is jaded beyond recall. It needs new shocks to the system every day. The adrenaline must flow. The line between reporting the news and inventing it? Erase it. Celebrate the erasure. Watch ratings soar.

Why pretend anymore? Why spend countless hours preparing and broadcasting synthetic artificial news, as if it were real? Does the audience care about such niceties? The audience just wants action.

The film proceeds from these premises.

Arthur Jensen, head of the corporation that owns the Network, speaks to unhinged Network newsman, Howard Beale, who has revealed, on-air, a piece of the real planetary power structure in a few moments of sanity: “You have meddled with the primal forces of nature, Mr. Beale, and I won’t have it!! Is that clear?!… You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU WILL ATONE!”

Head of programming for the Network, Diana Christensen, shifts the whole news department over to the entertainment division.

Thus emerge new shows with soaring ratings: Howard Beale, [Religious] Prophet of the Air Waves; The Mao Tse-Tung Hour, in which a guerrilla group films itself carrying out armed bank robberies; and Sybil the Soothsayer, a Tarot reader.

Diana becomes the network’s new executive star.

There is no longer even a pretense of a need for news anchors to appear authoritative, objective, or rational.

Diana Christensen is unstoppable. She sees, with burning clarity, that audiences are bored to the point of exhaustion; they now require, as at the end of the Roman Empire, extreme entertainment. They want more violence, more insanity, out in the open. On television.

In promoting her kind of news division, she tells network executives:

“Look, we’ve got a bunch of
hobgoblin radicals called the
Ecumenical Liberation Army who
go around taking home movies
of themselves robbing banks.
Maybe they’ll take movies of
themselves kidnapping heiresses,
hijacking 747’s, bombing bridges,
assassinating ambassadors.
We’d open each week’s segment
with that authentic footage,
hire a couple of writers to
write some story behind that
footage, and we’ve got
ourselves a series…

“Did you see the overnights on the
Network News? It has an 8 in New
York and a 9 in L.A. and a 27 share
in both cities. Last night, Howard
Beale went on the air [as a newscaster] and yelled
‘BULLSHIT’ for two minutes, and I
can tell you right now that tonight’s
show will get a 30 share at least.
I think we’ve lucked into something…

“I see Howard Beale as a latter-day
prophet, a magnificent messianic
figure, inveighing against the
hypocrisies of our times, a strip
Savonarola, Monday through Friday.
I tell you, Frank, that could just
go through the roof…Do you want to figure out
the revenues of a strip show that
sells for a hundred thousand bucks
a minute? One show like that could
pull this whole network right out
of the hole! Now, Frank, it’s being
handed to us on a plate; let’s not
blow it!”

Television in the “real world” isn’t all the way there yet, but it’s close.

In Network, Diana Christensen personifies the news. She is the electric, thrill-seeking, non-stop force that is terrified of silence.

She lives and feeds on adrenaline. So does the viewing public. Nothing else ultimately matters. Ratings are the top line and the bottom line. The individual and his thoughts are completely irrelevant.

Howard Beale, over the cliff, a news man screaming on-air about the insanity of the news, is perfectly acceptable, because the audience is simply responding to Beale’s inchoate outrage and their own. Nothing deeper is explored. What could have resulted in a true popular rebellion is short-circuited. Beale becomes a crazy loon, a novelty item. Yet one more distraction.

When, in a brief interlude of clarity, he begins telling his audience about the takeover of society by mega-corporations and mega-money, his show droops. Ratings collapse. Diana is no longer interested in him; she wants to sack him.

However, Arthur Jensen, the head of the corporation that owns the television network, wants to keep Beale on the air, as a messenger of the “galactic truth” about the beneficial integration of all human activity under the rubric of global money and global power. He converts Beale to his cause.

Diana sees only one way out of this ratings disaster: kill Beale; on-air; during his show. And so it is done.


Network also shows us the audience becoming actor, player, participant. The audience is jumping out of its skin to be recognized, courted, and adored as a mighty rolling force embodying no particular meaning.

Audience wants to be a star. Audience wants to BE news; audience wants its actions to be shown on television. That establishes its legitimacy. Nothing else is necessary.

Diana knows it, and she is more than willing to accommodate this frantic desire, if only her bosses will let her go all the way.

The best film ever made about television’s war on the population, Network stages only a few minutes of on-air television.

The rest of the film is dialogue and monologue about television. Thus you could say that, in this case, word defeats image. Which was scriptwriter Paddy Chayefsky’s intent.

Even when showing what happens on the TV screen, Network bursts forth with lines like these, from newsman Howard Beale, at the end of his rope, on-camera, speaking to his in-studio audience and millions of people in their homes:

“So, you listen to me. Listen to me! Television is not the truth. Television’s a god-damned amusement park. Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, sideshow freaks, lion tamers, and football players. We’re in the boredom-killing business… We deal in illusions, man. None of it is true! But you people sit there day after day, night after night, all ages, colors, creeds. We’re all you know. You’re beginning to believe the illusions we’re spinning here. You’re beginning to think that the tube is reality and that your own lives are unreal. You do whatever the tube tells you. You dress like the tube, you eat like the tube, you raise your children like the tube. You even think like the tube. This is mass madness. You maniacs. In God’s name, you people are the real thing. We are the illusion.”

It is Beale’s language and the passion with which he delivers it that constitutes his dangerous weapon. Therefore, the Network transforms him into a cheap religious figure, whose audience slathers him with absurd adoration.

Television’s enemy is the word. Its currency is image.

Beale occasionally breaks through the image and defiles it. He cracks the egg. He stops the picture-flow. He brings back the sound and rhythm of spoken poetry. That is his true transgression against the medium that employs him.

The modern matrix has everything to do with how knowledge is acquired.

Television, in the main, does not attempt to impart knowledge. It strives to give the viewer the impression that he knows something. There is a difference.

The impression of knowing is a feeling, a conviction, a belief the viewer holds, after he has watched moving images on a screen and listened to a narrator. THIS is what the viewer prefers. He wants no part of knowledge.

A basic premise of modern age is: “everything is (connected to) everything.” This fits quite well with the experience of watching video flow.

Example: we see angry crowds on the street of a foreign city. Then young people on their cell phones sitting in an outdoor café. Then the marble lobby of a government building where men in suits are walking, standing in groups talking to each other. Then at night, rockets exploding in the sky. Then armored vehicles moving through a gate into the city. Then clouds of smoke on another street and people running, chased by police.

A flow of consecutive images. The sequence, obviously, has been assembled by a news editor, but the viewing audience isn’t aware of that. They’re watching the “interconnected” images and listening to a news anchor tell a story that colors (infects) every image: “This is revolution for democracy, created by the technology of cell phones…”

Viewers thus believe something. Television has imparted a sensation to them.

Therefore: a short circuit occurs in the mind.

When you export this pattern out to a whole society, you are talking about a dominant method through which “knowledge” is groped and held close.

“Did you see that fantastic video about the Iraq War? It showed that Saddam actually had bioweapons.”

“Really? How did they show that?”

“Well, I don’t remember. But watch it. You’ll see.”

And that’s another feature of the modern acquisition of “knowledge”: amnesia about details.

The viewer can’t recall key features of what he saw. Or if he can, he can’t describe them, because he was inside them, busy building up his impression of knowing something.

Narrative-visual-television story strips out and discards conceptual analysis. To the extent it exists, it’s wrapped around and inside the image and the narration.

Paddy Chayefsky made his pen a sword, because he was writing a movie about television, against television. He was pitting Word against Image.

When a technology (television) turns into a method of perception, reality is turned inside out. People watch TV through TV eyes.

Mind control is no longer something merely imposed from the outside. It is a matrix of a self-feeding, self-demanding loop.

Willing Devotees of the Image WANT images, food stamps of the programmed society.

The triumph of Network is that it makes its words win over pictures, IN a picture, IN a film.


A pandemic, the false pandemic I’ve been rejecting in many articles, is delivered through video flow and narration. Stacked and cut images.

There is no challenge to the flow in any basic way, through the intrusion of actual knowledge, because that would shut down the parade of images and nullify the reasons for broadcasting them in the first place.

The old theater adage, “the show must go on,” when adapted for television, becomes, “the flow must go on.” Once its course is set, there can be no turning back.

The television audience, imprisoned in homes, rides the river…


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The Pandemic on Television

by Jon Rappoport

April 27, 2021

(To join our email list, click here.)

It should obvious to all but the most addled minds that television news anchors, their script writers, and editors never question the following (false) assertions:

SARS-CoV-2 is real. It was discovered and sequenced.

The test for the virus is accurate.

Every positive test denotes a “case of COVID-19.”

The case numbers and death numbers are accurate.

Masks, distancing, and lockdowns are necessary, in order to prevent further spread of the virus.

The COVID vaccine is safe and effective.

People who take the vaccine should nevertheless continue to wear masks and limit their exposure to non-family groups.

The mainstream news denizens accept these presumptions without investigation. They’re taking dictation from public health agencies (CDC, WHO).

Therefore, of what value is the news? Instead of elaborate broadcasts, why don’t the networks simply present, once a day, announcements from CDC spokespeople delivered from bland bureaucratic offices?

The answer, of course, is: commercials. Ad revenues. News divisions are expected to make money. They’re not public charities.

News is business.

Lester Holt (NBC) makes $10 million a year. Norah O’Donnell (CBS) makes $6 million a year. David Muir (ABC) makes $5 million a year. Wolf Blitzer (CNN) makes $5 million a year.

News also dresses up content. Instead of a CDC bureaucrat saying, “4000 new cases in Michigan today,” Norah can say, “ALARMING REPORT OF 4000 NEW CASES IN MICHIGAN,” with accompanying quick cuts of charts and graphs, footage of people waiting in line for the vaccine and lab workers fiddling with vials and EMT personnel wheeling a patient down a hospital corridor and Anthony Fauci sitting in the Oval Office across from Joe Biden.

Cut to the Michigan governor at a podium: “The pandemic is far from over. We have a lot of work to do…”

A general in full-dress uniform tells Norah, “Right now, we’re working on a vaccine that will protect against any virus, even ones we’ve never seen or discovered…”

For 60 seconds, two talking heads offer points of view on “the disproportionate dispensing of the vaccine to minority communities.”

A U of Michigan assistant athletic director speculates on whether home football this fall will be played in a packed stadium.

And “We’ll be back after this.”

COMMERCIALS. A drug that causes heart attacks. A drug that causes brain damage. A public service announcement for COVID vaccination. Chevy truck. Teaser for upcoming premiere of a new CBS cop show. One dollar special for double burger and fries and egg and bacon and cheese breakfast at McKing. Save money on your car insurance, click or call. Thick or thin crust, square or round pizza. A drug that makes your hair fall out. Tires that hold the road in the Arctic. Teaser for upcoming special: A Life Well Lived, the Man Who Changed America: Anthony Fauci.

And—back to the news.

That’s not hard work. It’s not intelligent work. It’s certainly not investigative work.

Truth be told, thousands of people could do it, could head up network television news coverage. The quality of American education aside, there are still MANY literate high school and college cheerleaders, drama majors, athletes, and self-assured nerds who could stand in for these high-priced anchors and deliver the goods.

If you peruse the bios of Lester Holt and David Muir, for example, you find they worked their up through positions as local anchors—meaning news readers. They also, up close and personal, “covered hot spots around the world.” Plane crashes, revolutions, hurricanes. In other words, they spoke with official sources in those places, and repeated the official versions of events, while standing under umbrellas whipping in the rain or on evening city rooftops wearing a Dan Rather-style bush jacket or flak jacket.

It goes without saying that network talent spotters are looking for young stars who are INCURIOUS. No digging beneath the surface on stories. Instead—shift horizontally across the top layer and find sweet spots that align with politically designated objectives, when necessary.

“I really like this kid in Cincinnati. He has good teeth, a strong jaw, and his hair looks like it’s made out of iron. Smooth baritone. Occasional self-effacing smile.”

“Yeah, I don’t know. He’s Clark Kent. Too straight.”

“We can work with that. Road trips. Send him to the Ukraine for a few weeks, Poland, El Salvador. Give him some seasoning. Hey, David Muir’s doing all right and he looks like he just stepped out of a men’s underwear catalog.”

“The Cincinnati kid played football at a small college in Nebraska. We could put him with the Bengals reporting on racial issues. That ought to give him a rough edge or two…”

“Wait. Here’s a red flag. Three months ago, he had this lawyer on his broadcast. The lawyer’s filing a suit against a university lab. Claims the COVID PCR test is spitting out false-positives like a fire hose.”

“Crap. Was it just a one-time screw-up?”

“No. Our boy tried to take it further. He brought a crew to the university lab. Got some quotes from techs there.”

“That’s not good. He’s an anchor and he thinks he’s making the news.”

Indeed, that isn’t good. Anchors don’t make news. They don’t ferret it out. They take what’s there and make it sound important.

You or I could go into a college drama department, stand in front of a hundred students, and say, “We’re looking for people who can read text without mistakes and make it sound important”—

And voila, we’d discover a few young men and women who could, with a few weeks of training, assume the role of a local TV news anchor and do a credible job.

In the history of television news, I know of two elite network anchors who—if not in their coverage of stories, but in their manner and attitude—transmitted a significant dissatisfaction with their roles, their limitations, and their virtual imprisonments: Peter Jennings and Jessica Savitch.

Jennings came across as “the man who knew more but wasn’t allowed to report it.” Savitch was a tiger caged at a circus, pacing back and forth in her cell, angry, wanting to rip the bars and jump out. Savitch died at 36, Jennings at 67.

Jennings managed to keep on his staff, for six years, an ACTUAL medical journalist, the late Nick Regush. Regush spent many hours digging below the surface. For example, in 1999, in a blistering ABC report, he expressed serious doubt that the Hepatitis C virus exists. After his departure from the network, he echoed that report:

“Consider this a challenge in progress. This scientific adventure raises the question of whether the hepatitis C virus, blamed for a major silent epidemic of liver disease and even cancer, actually exists. That’s right. You read this correctly: I am raising a question that may disturb scientists and hepatitis C patients alike. But I’m raising it anyway because it is vital to do so in the interests of public health. I’m issuing a challenge to the scientific community to present me with the published, peer-reviewed scientific evidence that such a virus actually exists—namely that it has been properly isolated, according to accepted, fundamental principles of virology.”

Were Regush working for ABC today, he would last about five minutes before being fired.

“Don’t DISCOVER news, RELAY it.”


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Meet the Medical CIA

by Jon Rappoport

April 22, 2021

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Yesterday, I presented Dr. Andrew Kaufman’s step-by-step refutation of a typical claim that SARS-CoV-2 has been isolated and proven to exist.

You find these “isolation” claims in many studies, in the “methods” section, where researchers describe their procedures in detail.

It’s obvious, however, that the researchers have their own special definition of the word “isolated.” For them, it actually means un-isolated. It’s as if they’ve decided that “sunshine” denotes “darkness.”

These researchers create a soup in a dish in a lab. They put toxic chemicals and drugs in the soup. They put monkey and/or human cells in the soup. There is much other genetic material in the brew—including, supposedly, the virus.

The cells, starved of nutrients, and poisoned, begin to die. The researchers then assert THE VIRUS must be doing the killing. Therefore, the virus IS in the soup and it is deadly.

But there is no evidence that the un-isolated virus is in the soup, and there is no evidence it is doing the killing.

On the back of these absurdities, a declaration is made: there is a pandemic, and the cause is a virus, named SARS-CoV-2.

Going even further, the researchers claim they’ve mapped the genetic sequence of the virus. Based on what? Compared to what? They don’t have an isolated specimen of the virus. How do you sequence something you don’t have? You don’t.

Of course, this raises all sorts of troubling questions about “the pandemic.” For the past year, I’ve been answering those questions in detail.

But the root of the deception comes at the beginning, with the claim that a new virus has been discovered.

Furthermore, as I’ve shown in a number of articles, “the virus” is the greatest cover story ever invented. It’s used to obscure the real reasons people are dying, in many places—ongoing government and corporate crimes, such as massive air and water pollution.

Wuhan is one of those places. Chronic deadly air pollution has hung over the city for a long time. A frequent outcome is pneumonia—which was suddenly highlighted as the cardinal symptom of the “new viral pandemic.”

Minimally alert researchers should have been able to make the connection between air pollution and pneumonia. And no doubt, they did—until they were muzzled by the Chinese government.

The same basic pattern existed in areas of Africa in the 1980s: people dying from lack of basic sanitation, contaminated water supplies, overcrowding in the cities, toxic vaccines, forced hunger and starvation, poverty, war, farmland stolen by giant agri-corporations, etc.

But suddenly, all this was: a virus. HIV. Overnight, the powers-that-be had a cover story for the ages.

HIV, like SARS-CoV-2, faces the same challenge—lack of evidence that it has ever been discovered.

Since 1988, I’ve been detailing and documenting the use of “the virus”—meaning A STORY ABOUT A VIRUS—as a covert op designed to deflect attention from what is actually making people sick and killing them.

“How many people did we starve today?”

“About 5000.”

“Good. And how are we explaining that?”

“The virus attacked their immune systems.”

“Everyone is buying this fiction?”

“Yes, sir. Our public health officials are very persuasive.”

Meet the medical CIA.

CDC agents run global covert ops.

They are the virus hunters.

These scouts are the CDC’s little-known Epidemic Intelligence Service (EIS). They create disinformation on a scale that must make the CIA jealous.

Graduates of this EIS program, as proudly stated by the CDC, have gone on to occupy key positions in the overall medical cartel: Surgeons General; CDC directors; medical school deans and professors; medical foundation executives; drug-company and insurance executives; state health officials; MEDICAL EDITORS AND REPORTERS IN MEDIA OUTLETS. —Power, at key junctures.

It’s a loyal insider’s club. They collaborate to float prime-cut, A-number-one cover stories of extraordinary dimensions. They invent medical reality out of thin air.

Here is a brief excerpt from the CDC, “50 Years of the Epidemic Intelligence Service” (published in 2001):

“In 1951, EIS was established by CDC following the start of the Korean War as an early-warning system against biologic warfare and man-made epidemics. EIS officers selected for 2-year field assignments were primarily medical doctors and other health professionals…who focused on infectious disease outbreaks. EIS has expanded to include a range of public health professionals, such as postdoctoral scientists in statistics, epidemiology, microbiology, anthropology, sociology, and behavioral sciences. Since 1951, approximately 2500 EIS officers have responded to requests for epidemiologic assistance within the United States and throughout the world. Each year, EIS officers are involved in several hundred investigations of disease and injury problems, enabling CDC and its public health partners to make recommendations to improve the public’s health and safety.” (italics added)

Several hundred investigations a year. An unparalleled opportunity to shape the truth into propaganda. Control of information about disease. Control out in the field, where EIS agents rush to the scene of “outbreaks,” and send their pronouncements into the hallowed halls of academia and the CDC, into the press, into Big Pharma, into multiple government agencies.

Control of information means disinformation. That’s what the EIS is for. They’ve never met a virus-story they didn’t love. They concoct those stories.

They front for the medical cartel. And they provide cover for the crimes of mega-corporations. There’s a town where poverty-stricken people are dying, because horrendous pesticides are running into the water supply and soil? No, it’s a virus. There’s a city where the industrial pollution is driving people over the edge into immune-system failure? No, it’s a virus.

And here’s the capper. Their propaganda is so good most of the EIS people believe it themselves. You don’t achieve that kind of robotic servitude without intense brainwashing. The first installment of the mind-control program is called medical school.

The EIS would have you believe the whole world is being attacked by viruses, all the time. That’s their mission.

And of course, this strengthens the vaccine establishment because, for every virus, there ought to be a vaccine: the shot in the arm.

The EIS. The CDC’s band of brothers. The medical CIA.

Among the “epidemics” in which the EIS has played key roles: smallpox (eradication); 2003 SARS; Zika.

SARS and Zika were outright duds. Predictions and warnings of great danger on the horizon never materialized.

Many years ago, after the so-called smallpox eradication campaign (massive vaccination) was declared a triumph, in Africa, there was a secret meeting of World Health Organization personnel in Geneva. It was decided never to use that vaccine again. Why? Because it CAUSED cases of smallpox.

In a truly open free market (if one existed), cut loose from government funding and their own insiders’ club, the CDC and the EIS would fall apart in the high heat of honest debate with independent researchers.

Since that free market doesn’t exist, the job of rejecting the medical CIA and their cover stories is our job.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.