Latest / Ryder Lee / Hollywood’s Secret Language | Mark Devlin

Transcript

Hollywood’s Secret Language | Mark Devlin · Ryder Lee

• 0:07
  Speaker 1: Welcome back to Raise by Giants Discussion. I'm your host,
• 0:10
  Speaker 1: writer Lee. Welcome any moderators and channel members out there.
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  Speaker 1: Wednesday and Friday eleven thirty am and Saturday five pm
• 1:12
  Speaker 1: on the ground zero Radio Plus network. Link is in
• 1:16
  Speaker 1: the description. With that down we have with us Today,
• 1:19
  Speaker 1: UK music journalist, club and radio DJ. Author of many
• 1:23
  Speaker 1: books and he's in my documentary at Clockwork Shining at
• 1:26
  Speaker 1: Kubrick's Odyssey three broadcasting from the UK. Mark Devlin, welcome
• 1:32
  Speaker 1: back to the show. It's good to see you.
• 1:34
  Speaker 2: What's up, brother, Good to be back man.
• 1:37
  Speaker 1: We're living in really fascinating times, and I believe people
• 1:40
  Speaker 1: are really finally starting to realize that fiction just isn't
• 1:44
  Speaker 1: fiction anymore, you know, like how Hollywood has been using
• 1:49
  Speaker 1: fiction to unravel and allegorically reveal reality in many different
• 1:56
  Speaker 1: ways to symbolically let everyone know what's actually going on.
• 1:59
  Speaker 1: I think that there's a bunch of films that need
• 2:03
  Speaker 1: to be re examined in this regard that may hold
• 2:09
  Speaker 1: the keys to understanding the future. And I have a
• 2:13
  Speaker 1: few films that I want to bring up with you
• 2:14
  Speaker 1: to get your discussion on that. I'm going to mention,
• 2:17
  Speaker 1: but does any film, movie, or any work of art
• 2:22
  Speaker 1: really come to mind that you think that we should
• 2:26
  Speaker 1: be taking another look at.
• 2:29
  Speaker 3: Well, there is one, but not in the context of
• 2:31
  Speaker 3: current affairs and politics. I've been doing a lot of
• 2:34
  Speaker 3: research into the true nature of this reality.
• 2:38
  Speaker 2: What is this place?
• 2:39
  Speaker 3: You know, what force or entity created it to what ends?
• 2:42
  Speaker 3: What we might call God? What is the true nature
• 2:44
  Speaker 3: of this entity or force called God? What is this
• 2:48
  Speaker 3: place in which we find ourselves? Isn't it absurd that
• 2:51
  Speaker 3: at some point in early childhood we become vaguely conscious
• 2:54
  Speaker 3: of the fact that we exist and there's a world
• 2:56
  Speaker 3: that we live in, but beyond that, there are no
• 2:59
  Speaker 3: clear answers as to what we're doing here. I mean,
• 3:02
  Speaker 3: lots of people claim to have the answers. You'll get
• 3:05
  Speaker 3: one religious minister that will say, my holy book has
• 3:08
  Speaker 3: all the answers, my messianic figure is the one to
• 3:12
  Speaker 3: revere and worship. And then immediately you'll have another religious
• 3:16
  Speaker 3: minister who will pop up and say, no, no, no,
• 3:19
  Speaker 3: you're a heathen.
• 3:20
  Speaker 2: That's blasphemy.
• 3:21
  Speaker 3: My religious figure is the one, and my religious text
• 3:25
  Speaker 3: is the one to go with. And then a third
• 3:27
  Speaker 3: guy will pop up and say, you're both wrong. You're
• 3:29
  Speaker 3: both wrong. It's my faith, Mine is the one. And
• 3:32
  Speaker 3: you're supposed to make sense of all of this somehow.
• 3:35
  Speaker 3: There's no manual, there's no guidebook. You're just stumbling around
• 3:38
  Speaker 3: in the dark and left to make the best of it.
• 3:40
  Speaker 3: So I've been asking these big questions, which I think
• 3:43
  Speaker 3: any human being owes it to themselves to ask. Well,
• 3:47
  Speaker 3: they've got the opportunity within these lives. I'm not claiming
• 3:50
  Speaker 3: that you're going to get the answers, but you can
• 3:52
  Speaker 3: at least ask the questions. So there's one movie that
• 3:55
  Speaker 3: I've been revisiting which somebody directed me to just recently,
• 4:00
  Speaker 3: which is The Truman Show, which I think is a
• 4:04
  Speaker 3: really great allegory for the human condition these lives. So,
• 4:11
  Speaker 3: if you think about it, Jim Carey's character is representative
• 4:15
  Speaker 3: of all of us, of people humans because he finds
• 4:20
  Speaker 3: himself in this reality where he realizes he's being monitored
• 4:24
  Speaker 3: and surveiled, and that could be a metaphor for perhaps
• 4:28
  Speaker 3: the way we're watched by entities I don't know, you know,
• 4:32
  Speaker 3: in unseen realms, and he gradually comes to realize that
• 4:36
  Speaker 3: the people around him are all actors playing roles. So
• 4:41
  Speaker 3: this fits the idea of NPCs that we hear about,
• 4:44
  Speaker 3: you know, non player characters, these normy figures who seem
• 4:47
  Speaker 3: to just float through life, and they don't seem to
• 4:50
  Speaker 3: ask these big questions that many of us do, and
• 4:53
  Speaker 3: many of them don't seem to have the full range
• 4:55
  Speaker 3: of emotions within their you know, capabilit it's and gradually
• 5:02
  Speaker 3: the Jim Carey character comes to realize that this world
• 5:05
  Speaker 3: in which he lives is nothing like he thought it was,
• 5:08
  Speaker 3: and it's actually illusory and it's not the real it's
• 5:14
  Speaker 3: not real life, it's not the real world, and so
• 5:16
  Speaker 3: he attempts to escape from it all.
• 5:18
  Speaker 2: I mean, there are Gnostic.
• 5:20
  Speaker 3: Overtones to this, so many people have interpreted it as
• 5:23
  Speaker 3: a Gnostic allegory, so it kind of sits in line
• 5:27
  Speaker 3: with many Gnostic teachings as to what the nature of
• 5:30
  Speaker 3: this realm is. And you've got the christoph character who's
• 5:34
  Speaker 3: the Handler, the controller played by Ed Harris in that film,
• 5:38
  Speaker 3: and within this metaphor, he's representative of what, in Gnostic terms,
• 5:42
  Speaker 3: was described as the Demiurge, this entity known as yelderbey Off,
• 5:47
  Speaker 3: which was like a lesser God, a pretender God, a
• 5:50
  Speaker 3: usurper who has somehow hijacked this reality and made it
• 5:55
  Speaker 3: its own, or created it in the first place. And
• 5:59
  Speaker 3: the Ed Harri's character in the film seeks to maintain
• 6:04
  Speaker 3: that sort of control over Truman because he's like his creation,
• 6:08
  Speaker 3: his pet project, and he doesn't like the fact that
• 6:12
  Speaker 3: Truman is starting to question where he is and what
• 6:15
  Speaker 3: the true nature of his life is. So that's one
• 6:18
  Speaker 3: movie that springs to mind in terms of asking big
• 6:20
  Speaker 3: questions or possibly answering them as to what the nature
• 6:23
  Speaker 3: of this reality is, because I think when you've been
• 6:26
  Speaker 3: in conspiracy research for long enough a number of years,
• 6:30
  Speaker 3: like as many years as I have, all roads eventually
• 6:34
  Speaker 3: converge at one singular point. So you can look into
• 6:38
  Speaker 3: secret society networks, and you can look into the New
• 6:41
  Speaker 3: World Order master Plan and the methods and tactics that
• 6:43
  Speaker 3: are used to control and surveil us and enslave us.
• 6:47
  Speaker 3: You can look into the banking and financial scams, and
• 6:50
  Speaker 3: you know, the builder Berg Group and the Trilateral Commission,
• 6:53
  Speaker 3: all of these. But there comes a point where all
• 6:57
  Speaker 3: of that just becomes information and data and names and
• 7:01
  Speaker 3: places and dates, And what's really important is going beyond
• 7:05
  Speaker 3: that several levels to ask what is the nature of
• 7:09
  Speaker 3: a reality in which any of that sort of stuff
• 7:12
  Speaker 3: can take place in the first place, you know, that
• 7:15
  Speaker 3: facilitates these kind of activities playing out into apparently physical manifestation.
• 7:21
  Speaker 3: So that's where I'm at asking those kind of questions
• 7:24
  Speaker 3: at this point in my life, having done the conspiracy
• 7:26
  Speaker 3: thing for many years, And that movie speaks a lot
• 7:31
  Speaker 3: to me in that regarding in terms of considering these
• 7:34
  Speaker 3: very big questions in life.
• 7:37
  Speaker 1: Have you seen the controversy that's surrounding Jim Carrey at
• 7:41
  Speaker 1: the moment when he showed up to the Paris Awards
• 7:44
  Speaker 1: show last week and he looks completely different. He looks
• 7:48
  Speaker 1: like is these has had a bunch of work done
• 7:51
  Speaker 1: and a bunch of plastic surgery, which doesn't make a
• 7:55
  Speaker 1: lot of sense based off of the things that he
• 7:57
  Speaker 1: has said up and to this point that it doesn't
• 8:01
  Speaker 1: seem like he would be the person that would want
• 8:04
  Speaker 1: all of that cosmetic surgery, which has led people to
• 8:07
  Speaker 1: believe that that's not really Jim Carrey, that he's somebody else,
• 8:11
  Speaker 1: that someone's impersonating him, or that he's been cloned and
• 8:15
  Speaker 1: all of that. But what is really strange about that
• 8:18
  Speaker 1: entire scenario is that he does look like a different person.
• 8:23
  Speaker 1: He's obviously had work done if it really is him.
• 8:27
  Speaker 1: But what's the most odd about it was at the
• 8:30
  Speaker 1: end of his speech at the awards ceremony, he says
• 8:35
  Speaker 1: the ending line that he says at the end of
• 8:38
  Speaker 1: the Truman Ship.
• 8:40
  Speaker 4: In case he doesn't see you, good evening and good night.
• 8:47
  Speaker 1: In case I don't see you, good afternoon, good evening,
• 8:51
  Speaker 1: and good night. In case I don't see you, good afternoon,
• 8:57
  Speaker 1: good evening, and good night. And I'm like, wow, if
• 9:03
  Speaker 1: that's not really Jim Carrey, what a play. But you
• 9:08
  Speaker 1: just be it in front of everyone. It's like a
• 9:12
  Speaker 1: metaphor within a metaphor within a metaphor.
• 9:15
  Speaker 3: Right, I mean anything as possible. Could Jim Carey have
• 9:19
  Speaker 3: been replaced. Sure, they've done it before, did it with
• 9:21
  Speaker 3: Paul McCartney. They did it for a period with Madonna
• 9:26
  Speaker 3: in round about twenty twenty one, or starting in twenty twenty.
• 9:29
  Speaker 2: One, where they wheeled out.
• 9:31
  Speaker 3: To my thinking, at least three different Madonnas. So there
• 9:35
  Speaker 3: was a young one. I can't remember if we talked
• 9:37
  Speaker 3: about this on the show last time, but there was
• 9:39
  Speaker 3: a young one who looked no more than about thirty
• 9:41
  Speaker 3: with pink hair, and that quite obviously was not the
• 9:44
  Speaker 3: real Madonna, who by that point was supposed to be
• 9:46
  Speaker 3: about sixty five years of age sixty three, I think.
• 9:51
  Speaker 3: Then there was another one who was short and fat
• 9:55
  Speaker 3: and dumpy as she appeared on stage in a dance
• 9:58
  Speaker 3: routine in Colombia, and she could barely pull.
• 10:01
  Speaker 2: Any dance steps.
• 10:02
  Speaker 3: And looked completely out of shape, so that clearly was
• 10:06
  Speaker 3: not the original Madonna. And then there was a sort
• 10:08
  Speaker 3: of older, grizzled, haggard sort of one, and it was
• 10:11
  Speaker 3: much more plausible that that could be the real Madonna,
• 10:14
  Speaker 3: but it still wasn't. And then the real one appears
• 10:16
  Speaker 3: to have come back. She's got this very distinctive gap
• 10:19
  Speaker 3: in her teeth, so when she smiles, you know it
• 10:22
  Speaker 3: at her. So we appear to have the original Madonna back.
• 10:25
  Speaker 3: But they played complete mind fuck games on us by
• 10:30
  Speaker 3: putting out these three replacements for a period, And who
• 10:33
  Speaker 3: knows why they did that. Maybe it was to see
• 10:35
  Speaker 3: how many people would notice, whether they could get away
• 10:38
  Speaker 3: with it, whether the fans would call it out, how
• 10:41
  Speaker 3: many truth researchers would draw attention to it. Maybe it
• 10:44
  Speaker 3: was a little social experiment in that way. Who knows.
• 10:47
  Speaker 3: And I hear all these claims that famous people have
• 10:50
  Speaker 3: been replaced by clones or doubles or whatever. I've heard
• 10:53
  Speaker 3: it about Jim Carey, and sure those pictures that surfaced
• 10:56
  Speaker 3: recently do not look like the original Jim Carey. But
• 11:00
  Speaker 3: for every person you'll get who claims that he's been replaced,
• 11:04
  Speaker 3: somebody else will pop up and say, oh, come on,
• 11:06
  Speaker 3: Jim Carey is in Hollywood, and in Hollywood there's plastic surgery,
• 11:11
  Speaker 3: there's all kinds of work you can have done. There's
• 11:13
  Speaker 3: makeup that gets applied in film type scenarios, and that's
• 11:17
  Speaker 3: just Jim Carey trying to stave off aging. So it
• 11:20
  Speaker 3: just goes to show that there are never any clear
• 11:22
  Speaker 3: answers to anything. Nothing is ever clear cut because somebody
• 11:26
  Speaker 3: is always going to pop up and be contrary and
• 11:29
  Speaker 3: oppose any kind of claim that you might choose to make.
• 11:33
  Speaker 3: So it just makes this work very, very difficult. You've
• 11:36
  Speaker 3: got to have a lot of time on your hands.
• 11:38
  Speaker 3: You've got to be pretty good at forensic analysis and
• 11:41
  Speaker 3: comparing facial structures and distances between eyes and ears and
• 11:46
  Speaker 3: ear shapes and things like this to be able to
• 11:49
  Speaker 3: make sense of it. I mean, with some it's easier
• 11:51
  Speaker 3: than with others. As far as I'm concerned with Paul McCartney,
• 11:55
  Speaker 3: it's a clear cutcase. There have been at least two
• 11:57
  Speaker 3: individuals playing the public role of pau mc cut. You
• 12:00
  Speaker 3: can see they're very different in photographs and film footage.
• 12:04
  Speaker 3: You don't need to be a forensic expert to see that,
• 12:07
  Speaker 3: but with some of these others, I think it requires
• 12:10
  Speaker 3: a much deeper level of expertise if you've got to
• 12:13
  Speaker 3: come out and make bold kind of claims like that,
• 12:15
  Speaker 3: because when you make a bold claim, people require bold
• 12:20
  Speaker 3: evidence to back it up. And like I said, you've
• 12:22
  Speaker 3: got to have a lot of time and a lot
• 12:25
  Speaker 3: of resources on your hands to be able to back
• 12:27
  Speaker 3: up these kind of claims when they get made.
• 12:32
  Speaker 1: I think that they did the same thing with Britney
• 12:34
  Speaker 1: spears that that you just explained that they did with Madonna.
• 12:40
  Speaker 1: I'm convinced that the Britney spears we see right now
• 12:44
  Speaker 1: that just got arrested apparently. I don't know if you
• 12:48
  Speaker 1: saw this, but you just got arrested for a DUI,
• 12:51
  Speaker 1: I believe is what it was. I don't believe that
• 12:56
  Speaker 1: that's the same Britney spirits, and I don't believe that
• 12:58
  Speaker 1: that has been the same Britney spirit since around two
• 13:01
  Speaker 1: thousand and eleven.
• 13:03
  Speaker 3: Yeah, well that's quite possible. Like I say, I can't
• 13:05
  Speaker 3: rule it out. Another thing is that during the COVID
• 13:09
  Speaker 3: era they started using a double for Prince Charles or
• 13:15
  Speaker 3: King Charles as he is now. It quite clearly was
• 13:18
  Speaker 3: not him he appeared on a Sky News broadcast in
• 13:21
  Speaker 3: the middle of COVID and it was so obvious it
• 13:26
  Speaker 3: was an actor, but most people within the British public
• 13:29
  Speaker 3: didn't notice or didn't care. Like George Carlin once said,
• 13:34
  Speaker 3: nobody seems to care. Nobody seems to notice. They got
• 13:37
  Speaker 3: away with it. It's just incredible to me. I mean,
• 13:39
  Speaker 3: somebody like Madonna. You could argue that not many people
• 13:42
  Speaker 3: pay attention to Madonna, or you know, she only appeals
• 13:45
  Speaker 3: to certain demographics or whatever.
• 13:47
  Speaker 2: But this is the frigging King.
• 13:49
  Speaker 3: Not that I'm suggesting people should pay attention to the King,
• 13:53
  Speaker 3: but you know, he's a pretty public figure, a pretty
• 13:55
  Speaker 3: important figure within the United Kingdom, and they got away
• 13:59
  Speaker 3: with using a double for him, no explanation as to
• 14:03
  Speaker 3: why it was done. And then the original Prince Charles
• 14:06
  Speaker 3: pop back up again, to my thinking, that's him, We've
• 14:09
  Speaker 3: got him back. So this double was put in for
• 14:12
  Speaker 3: a period, and I don't know where they getting their
• 14:15
  Speaker 3: mind control topped up in a lab somewhere, and they
• 14:17
  Speaker 3: need to put somebody out there. Do they have a
• 14:19
  Speaker 3: bad reaction to certain chemical compounds that they may have
• 14:22
  Speaker 3: been ingesting, or is it a simple social experiment. Like
• 14:26
  Speaker 3: I said, are the social engineers doing this to see
• 14:30
  Speaker 3: how many people notice and what they can get away with,
• 14:34
  Speaker 3: or is it to make those who do observe the
• 14:38
  Speaker 3: change and draw attention to it look crazy. So if
• 14:43
  Speaker 3: they try and tell friends and family that's not the
• 14:45
  Speaker 3: original Prince Charles, they've replaced him. That's a double, that's
• 14:48
  Speaker 3: an actor. And then the original pops back up and
• 14:51
  Speaker 3: you can see that's the original. Your family and friends
• 14:54
  Speaker 3: are going to say.
• 14:54
  Speaker 2: You're crazy. Of course that's him. Look there he is
• 14:58
  Speaker 2: right there. What have you been drinking? What have you
• 15:01
  Speaker 2: been spoking?
• 15:02
  Speaker 1: Man? Yeah, it's a double double. And then when it
• 15:06
  Speaker 1: comes to like cryptic and symbolic movies, but things that
• 15:10
  Speaker 1: are also in your face is the movie Death Becomes Her,
• 15:15
  Speaker 1: which is all about immortality and cults, and we know
• 15:20
  Speaker 1: that the elites are into immortality, you know, alchemy, elixir
• 15:24
  Speaker 1: of life, the philosopher stone, blood rituals for youth, or
• 15:29
  Speaker 1: even transfer of blood. This goes back hundreds of years,
• 15:32
  Speaker 1: but this one's a little different. In this movie, they
• 15:35
  Speaker 1: have this little vial that has a substance in it
• 15:39
  Speaker 1: that reminds me actually of the movie Substance, which is
• 15:44
  Speaker 1: basically a way darker version of that movie that revolves
• 15:49
  Speaker 1: around the same type of thing. It's a modern horror
• 15:52
  Speaker 1: take on it, but it's like an injection instead of
• 15:55
  Speaker 1: a liquid that you drink. Wow. Wow, imagine that and
• 16:01
  Speaker 1: an injection to keep you young. What a coincidence that is.
• 16:05
  Speaker 1: And with those zimpeg and all these weight loss drug
• 16:08
  Speaker 1: injections that are so popular. Right now, I'm gonna have
• 16:12
  Speaker 1: to save that one in my memory bank for later.
• 16:16
  Speaker 1: But anyway, the movie Death Becomes Her, they have this
• 16:20
  Speaker 1: drink and what a bunch of people describe as adrenochrome,
• 16:27
  Speaker 1: and what adrenochrome is. It gives them immortality from this
• 16:32
  Speaker 1: super old witch that looks like she's like thirty years old,
• 16:35
  Speaker 1: but it's probably more like over one hundred years old.
• 16:39
  Speaker 1: And this witch runs this hidden network of elite power
• 16:43
  Speaker 1: players that she has supplied the substance to over the years.
• 16:48
  Speaker 1: And at the end of the movie, you got all
• 16:51
  Speaker 1: of these people that have taken this substance that has
• 16:55
  Speaker 1: been reportedly dead for a really long time but is
• 16:58
  Speaker 1: alive and is at this party, which includes Elvis Presley,
• 17:02
  Speaker 1: Marilyn Monroe, James Dean, Indy Warhol, and I'm pretty sure
• 17:09
  Speaker 1: that Jim Morrison was even in there. Implying that people
• 17:15
  Speaker 1: we believe died young or unexpectedly might not actually be dead.
• 17:22
  Speaker 3: Yeah, well that's something I can't rule out. And certainly
• 17:26
  Speaker 3: when it comes to people like Jim Morrison, I don't
• 17:30
  Speaker 3: buy the suggestion that he died in nineteen seventy one
• 17:34
  Speaker 3: at the age of twenty seven in the bathtub in
• 17:36
  Speaker 3: his Paris apartment. I mean, Jim Morrison is a prime
• 17:39
  Speaker 3: candidate for having been allowed to fake his own death
• 17:42
  Speaker 3: because of who his old man was, you know, the
• 17:45
  Speaker 3: Navy admiral in the Gulf of Tonkin, obviously high level
• 17:48
  Speaker 3: military connected. You can only fake your death and get
• 17:51
  Speaker 3: away with it with the full complicity of the military
• 17:54
  Speaker 3: intelligence services. So it helps if you've got family connections
• 17:58
  Speaker 3: into those. I've got trouble accepting that Elvis Presley died
• 18:03
  Speaker 3: when we told he did in nineteen seventy seven. I
• 18:05
  Speaker 3: think he would be another prime candidate for having been
• 18:08
  Speaker 3: allowed to fade off into obscurity and pop back up
• 18:12
  Speaker 3: under a new identity and live out his remaining years
• 18:15
  Speaker 3: outside of the public spotlight. Because Elvis was high level
• 18:19
  Speaker 3: military connected as well, and then with others, I think
• 18:23
  Speaker 3: you have to examine each case individually and draw your
• 18:26
  Speaker 3: conclusions based on the evidence. But it's certainly a dynamic
• 18:29
  Speaker 3: which does take place.
• 18:32
  Speaker 2: In my opinion.
• 18:33
  Speaker 3: You know, certain famous people are allowed to affect their
• 18:37
  Speaker 3: deaths in that way you mentioned there, the reference to
• 18:40
  Speaker 3: adrenochrome in death becomes a you're probably aware that in
• 18:44
  Speaker 3: a Clockwork Orange Stanley Kubrick's movie nineteen seventy one, there's
• 18:48
  Speaker 3: a loose reference to it there when Malcolm MacDell, Alex
• 18:52
  Speaker 3: and his Dreux are in the Corova milk bar at
• 18:55
  Speaker 3: the start of the film, and in the monologue that
• 18:59
  Speaker 3: goes over the top, he says we were drinking drenchroma,
• 19:03
  Speaker 3: which is basically adrenochrome. So Kubrick clearly knew about this stuff,
• 19:08
  Speaker 3: and that's just one of so many things that he
• 19:10
  Speaker 3: was trying to tell us through movies in coded allegorical ways.
• 19:14
  Speaker 3: I would suggest.
• 19:16
  Speaker 1: Kubrick had to have known what was going on in that.
• 19:19
  Speaker 1: And also with As Wide Shot, I mean, if you
• 19:22
  Speaker 1: rewatch as Wide Shot right now, it hits in a
• 19:27
  Speaker 1: different kind of way than when you watched it just
• 19:31
  Speaker 1: a few years back, and now hits a little bit
• 19:36
  Speaker 1: different and you realize more of what was going on.
• 19:39
  Speaker 3: And what's crazy about that is I've been doing a
• 19:42
  Speaker 3: lot of research into nineteen eighties pop videos, which I've
• 19:45
  Speaker 3: presented in some of my live talks and on a
• 19:48
  Speaker 3: couple of Patreon presentations. So I've been revisiting a lot
• 19:51
  Speaker 3: of videos I would have watched at the time, you know,
• 19:53
  Speaker 3: on MTV or Top of the Pops, probably introduced by
• 19:57
  Speaker 3: Sir Jimmy Savile back in the day. I can remember
• 19:59
  Speaker 3: these videos from the early eighties, and of course the
• 20:02
  Speaker 3: stuff went straight over my head at the time because
• 20:04
  Speaker 3: I didn't know what to look for. But now that
• 20:07
  Speaker 3: I do, now that I've learned what all the symbolism means,
• 20:10
  Speaker 3: it's shocking to see what was right there in plain sight.
• 20:14
  Speaker 3: And a common theme running through so many eighties pop
• 20:17
  Speaker 3: videos from the first part of the decade I would say,
• 20:20
  Speaker 3: sort of nineteen eighty to about eighty four and then
• 20:23
  Speaker 3: it tends to have fizzled out is how many scenes
• 20:27
  Speaker 3: resemble a scene from Stanley Kubrick's Eyes Wide Shut. So
• 20:32
  Speaker 3: many videos in these sort of Rothchild style elite country
• 20:36
  Speaker 3: mansions where you've got these masked balls going ahead and
• 20:39
  Speaker 3: they're all dressed in Venetian carnival masks and robes and
• 20:43
  Speaker 3: costumes and stuff. This was a big part of the
• 20:46
  Speaker 3: New Romantic era, of course, in the early eighties. That
• 20:49
  Speaker 3: whole scene, the whole look, the whole fashion was based
• 20:53
  Speaker 3: on costumes and dressing up as dapper dandy figures from
• 20:58
  Speaker 3: the past, and lots of references to these elite country mansions.
• 21:06
  Speaker 3: And there's so many videos where you've got black and
• 21:08
  Speaker 3: white checkerboard flooring of the type that you find in
• 21:11
  Speaker 3: Masonic temples, and you've got these ornate grand balconeers and
• 21:17
  Speaker 3: staircases and stuff, and it's figures are sort of interacting
• 21:21
  Speaker 3: with those. One that springs to mind is Adam and
• 21:23
  Speaker 3: the Ants Prince Charming. I mean, that's one you can
• 21:26
  Speaker 3: really get inside when it comes to symbolism, particularly pertaining
• 21:30
  Speaker 3: to trauma based mind control MK ultra and such and
• 21:33
  Speaker 3: dissociation from reality. Another one is Ultravox Vienna that kind
• 21:38
  Speaker 3: of tells its own story and you've got a sort
• 21:40
  Speaker 3: of handler mind control subject relationship going on there and
• 21:45
  Speaker 3: what gets portrayed in the narrative. And another one is
• 21:48
  Speaker 3: Queen's It's a Hard Life from nineteen eighty four, which
• 21:52
  Speaker 3: is one of their lesser known singles from their Works album.
• 21:56
  Speaker 3: And this one also is set in an eyes wide
• 21:58
  Speaker 3: shut style sort of country man with one of these
• 22:01
  Speaker 3: costume balls taken effect. But for this one, and I
• 22:06
  Speaker 3: mentioned this in my last book, No One's Dad's a Plumber.
• 22:08
  Speaker 3: I got a survivor of satanic ritual abuse trauma based
• 22:13
  Speaker 3: mind condrawl. He was raised in one of these families,
• 22:16
  Speaker 3: generational bloodline family where satanic ritual abuse was just part
• 22:21
  Speaker 3: of what went on, and he's since broken free of
• 22:26
  Speaker 3: that cult and he's worked with his partner to deprogram
• 22:31
  Speaker 3: himself from what was done to him, and between them,
• 22:34
  Speaker 3: they've learned to spot the symbolism that relates to stuff
• 22:38
  Speaker 3: that he went through. So they're not what they're talking
• 22:40
  Speaker 3: about because this guy saw this stuff, you know, in
• 22:43
  Speaker 3: his childhood and growing up.
• 22:45
  Speaker 2: And they've said that.
• 22:46
  Speaker 3: That video to It's a Hard Life, which was directed
• 22:49
  Speaker 3: by a guy named Tim Pope who's done a few
• 22:52
  Speaker 3: films as well and a fair few music videos, depicts
• 22:57
  Speaker 3: the preparation for a ritual sacrifice, and in their opinion,
• 23:01
  Speaker 3: what's being portrayed is Freddie Mercury is being prepared for sacrifice.
• 23:07
  Speaker 3: So there's this particular point in the video where Freddy
• 23:10
  Speaker 3: is all dressed up in this flamboyant costume, is coming
• 23:13
  Speaker 3: down the staircase and there's this big fat woman looks
• 23:17
  Speaker 3: like an opera singer who treads on his.
• 23:19
  Speaker 2: Bare foot with her foot.
• 23:22
  Speaker 3: And they've said that's a sign first of submission, a
• 23:25
  Speaker 3: slave submitting to a handler, but also it's marking Freddie
• 23:29
  Speaker 3: out as a sacrificial victim. And that's quite chilling when
• 23:33
  Speaker 3: you consider that Freddy only lived another seven years after
• 23:37
  Speaker 3: that video, and very soon afterwards we're told he got
• 23:40
  Speaker 3: ill from AIDS. I think the truth of the matter
• 23:44
  Speaker 3: is he probably got ill from the medication that was
• 23:46
  Speaker 3: prescribed to treat AIDS, if AIDS was ever even a
• 23:50
  Speaker 3: real thing, but AZT certainly was, which is the principal
• 23:54
  Speaker 3: drug that was getting put out there to supposedly combat
• 23:58
  Speaker 3: this terrible virus.
• 24:00
  Speaker 2: Hmmm, reminds me of something, What can it be?
• 24:03
  Speaker 3: And we all know how it ended up for Freddy,
• 24:06
  Speaker 3: you know, he just wasted away before our very eyes
• 24:08
  Speaker 3: and faded away. And it raises the quite chilling suggestion
• 24:16
  Speaker 3: that it could have been known about some years in advance,
• 24:18
  Speaker 3: and that Freddy was lined up as a ritual sacrifice
• 24:21
  Speaker 3: to the industry and for anyone for whom that sounds
• 24:23
  Speaker 3: outrageous and fantastic. I get it, because when I first
• 24:27
  Speaker 3: started looking into all this stuff, that sort of thing
• 24:30
  Speaker 3: sounded outrageous and fantastic to me. But the more you
• 24:33
  Speaker 3: delve into the research, and the more you look at
• 24:37
  Speaker 3: the evidence that's available to you, not least the testimonials
• 24:41
  Speaker 3: and the eyewitness claims of those that have come out
• 24:43
  Speaker 3: of these kind of institutions, like you know, SRA survivors
• 24:47
  Speaker 3: and such, then you come to realize that this sort
• 24:50
  Speaker 3: of thing does, unfortunately go on all the time within
• 24:54
  Speaker 3: entertainment and popular culture. It's just a part of how
• 24:57
  Speaker 3: these folks get down. It's a testament to their sick, diseased,
• 25:00
  Speaker 3: satanic nature. And just because it sounds outrighteous and fantastic
• 25:05
  Speaker 3: at the start doesn't mean that it's not possible. And
• 25:09
  Speaker 3: that's the dark and devastating world of this kind of research. Unfortunately,
• 25:13
  Speaker 3: wish it was some other way, but I'm just merely
• 25:16
  Speaker 3: reporting what I found.
• 25:18
  Speaker 1: Well, you know, in the Freemason Bible, it says when
• 25:22
  Speaker 1: a sacrifice is made, the sacrifice has to be made
• 25:27
  Speaker 1: inside of a pentagon, and a pentagon is the pentagon.
• 25:38
  Speaker 1: So if you look at a lot of these, maybe
• 25:42
  Speaker 1: some of these public executions or some of these sacrifices
• 25:48
  Speaker 1: like you were talking about with Freddie Mercury, you could
• 25:51
  Speaker 1: probably go back and there would be some kind of
• 25:54
  Speaker 1: symbolism surrounding that. That's like a if you looked at
• 26:02
  Speaker 1: it from above.
• 26:03
  Speaker 3: What's crazy about the Queen story is I've researched this
• 26:07
  Speaker 3: because I've done a live presentation on it. I did
• 26:10
  Speaker 3: it at Halloween last year, actually, and part of that
• 26:14
  Speaker 3: involves breaking down the lyrical content of Bohemian Rhapsody, Queen's
• 26:18
  Speaker 3: most famous song. And it's another thing that was staring
• 26:23
  Speaker 3: us all right there in plain sight, but so many
• 26:25
  Speaker 3: probably didn't see it. That song has been endlessly scrutinized
• 26:29
  Speaker 3: by music critics for decades, and they're like, oh, it's
• 26:32
  Speaker 3: so ambiguous, nobody really knows what it means. But it's
• 26:35
  Speaker 3: fairly clear when you look at it from this perspective
• 26:39
  Speaker 3: that the song is talking about a Faustian bargain, a
• 26:43
  Speaker 3: deal that's being made by the protagonist in the song
• 26:48
  Speaker 3: in exchange for great fame and fortune. This goes back
• 26:51
  Speaker 3: to the original German legend of Faust, who is this
• 26:56
  Speaker 3: sort of accomplished, wealthy individual who had gained a great
• 27:03
  Speaker 3: worldly pleasure and acquisition, but felt like he was lacking knowledge,
• 27:09
  Speaker 3: spiritual knowledge, and holistic knowledge, and so he makes a
• 27:15
  Speaker 3: deal metaphorically with the devil and sells his soul, offers
• 27:20
  Speaker 3: up his mortal soul in exchange for this great worldly knowledge,
• 27:25
  Speaker 3: and a common trope that's run throughout the music industry
• 27:29
  Speaker 3: for decades, going all the way back to Robert Johnson,
• 27:32
  Speaker 3: the blues musician in the nineteen thirties who said to
• 27:35
  Speaker 3: have made a deal at the crossroads with the devil
• 27:38
  Speaker 3: in exchange for great musical proficiency. Is this idea of
• 27:43
  Speaker 3: musicians trading their souls for engineered fame and fortune, and that,
• 27:49
  Speaker 3: when you look at it, is what the Freddie Mercury
• 27:52
  Speaker 3: character is talking about in Bohemian Rhapsody. And when he says,
• 27:55
  Speaker 3: Mama just killed a man, he's talking about a metaphorical killing,
• 28:00
  Speaker 3: which is the killing of his old self or his ego,
• 28:03
  Speaker 3: if you like, because now he's become somebody or something
• 28:07
  Speaker 3: else because of the deal that he's made. And then
• 28:10
  Speaker 3: the middle section of that song where it goes all operatic,
• 28:14
  Speaker 3: is a battle in the heavens between the forces of
• 28:18
  Speaker 3: good and evil. It's angels and demons. They sound like choirs,
• 28:23
  Speaker 3: and they're doing battle in the spiritual realm for Freddie's
• 28:29
  Speaker 3: soul to determine, you know, which side is going to
• 28:33
  Speaker 3: get freddy soul. And then evidently in the song, the
• 28:36
  Speaker 3: forces of good the angels win out and they claim
• 28:40
  Speaker 3: back Freddie's soul. And that's why at the end of
• 28:43
  Speaker 3: the song it goes very calm the coder at the
• 28:45
  Speaker 3: end because Freddy's been through all this and he's reflecting
• 28:49
  Speaker 3: on what's happened to him. And that song was written
• 28:51
  Speaker 3: by Freddie Mercury himself for Route Bulsara, and I wonder
• 28:57
  Speaker 3: whether it chronicles his own induction into the music business.
• 29:01
  Speaker 2: So it's autobiographical.
• 29:03
  Speaker 3: Freddy is basically telling in allegorical form through this very
• 29:07
  Speaker 3: operatic song, how he himself came to become famous. And unfortunately,
• 29:14
  Speaker 3: an aspect of selling your soul that often occurs is
• 29:18
  Speaker 3: the devil, to use that term, sometimes wants it back
• 29:24
  Speaker 3: or sometimes wants more from you. It's payback time, you know.
• 29:29
  Speaker 3: So you've had the fame and the fortune and the
• 29:32
  Speaker 3: great wealth and the riches, and there comes a point
• 29:34
  Speaker 3: where now you've got to pay the price for that.
• 29:36
  Speaker 3: And you know, I wonder whether Freddy's ultimate demise could
• 29:41
  Speaker 3: have been connected to some kind of deal that he
• 29:43
  Speaker 3: made early on. Another piece of footage that I show
• 29:46
  Speaker 3: in that talk is Freddy at a very early queen
• 29:50
  Speaker 3: concert from the early seventies, and he's holding up some nails,
• 29:55
  Speaker 3: artificial nails on his hands, and he says, do you
• 29:58
  Speaker 3: like my Clause goes, they're present from the devil himself,
• 30:03
  Speaker 3: and then the audience starts laughing, and he goes, they're laughing,
• 30:06
  Speaker 3: they're laughing.
• 30:06
  Speaker 2: They don't believe me. They don't believe me.
• 30:08
  Speaker 3: So you've got to wonder how much truth was getting
• 30:10
  Speaker 3: conveyed there. You know, all of this stuff just makes
• 30:14
  Speaker 3: you wonder. When you approach all these things with a
• 30:16
  Speaker 3: fresh pair of eyes and a new mind, coming from
• 30:20
  Speaker 3: a renewed perspective, it does tend to put a different
• 30:24
  Speaker 3: slant on so many things that you've been familiar with,
• 30:27
  Speaker 3: possibly for decades.
• 30:30
  Speaker 1: What if the selling of the soul is also metaphorical
• 30:35
  Speaker 1: and allegorical, meaning that once you take the money from
• 30:41
  Speaker 1: these people, you can't go against these people, right, they
• 30:47
  Speaker 1: are funding you, They're funding your career, and you cannot
• 30:52
  Speaker 1: back out of the deal or else your career is
• 30:56
  Speaker 1: then over. You are then destroyed, and worst case than
• 30:59
  Speaker 1: you are killed. I mean, when you look at some
• 31:03
  Speaker 1: of the most popular musicians you know since the fifties
• 31:10
  Speaker 1: and beyond have all died in some weird and strange way.
• 31:17
  Speaker 1: The most popular people, I mean, Elvis, John Lennon, Michael Jackson,
• 31:24
  Speaker 1: you know, all of these people. At Prince, you know,
• 31:27
  Speaker 1: Regret Prince was later on in life, but still he
• 31:31
  Speaker 1: was doing a lot of things that was going against
• 31:34
  Speaker 1: the music industry. He was trying to get the rights
• 31:37
  Speaker 1: back to all of his music, and he wasn't letting
• 31:41
  Speaker 1: that music being distributed out. He didn't want it on streaming.
• 31:45
  Speaker 1: And then two years after he gets the rights back
• 31:48
  Speaker 1: to all of his music, he's dead.
• 31:53
  Speaker 3: So if you think about nineteen fifties icons, and you
• 31:56
  Speaker 3: mentioned these earlier, Marilyn Monroe, Elvis Presley except that he
• 32:00
  Speaker 3: did die in ninety seventy seven, and James Dean, I mean,
• 32:03
  Speaker 3: what are the chances James Dean dead at twenty four,
• 32:07
  Speaker 3: Marilyn was dead at thirty six, and then you've got
• 32:10
  Speaker 3: people at River Phoenix, who was dead at I don't know,
• 32:13
  Speaker 3: twenty something, I guess, and many other actors who die
• 32:16
  Speaker 3: young after becoming iconic, And what are the chances of
• 32:20
  Speaker 3: that happening as an accidental sort of thing? I mean,
• 32:22
  Speaker 3: I called my last book, No One's Dad's a Plumber
• 32:25
  Speaker 3: to emphasize the observation that when it comes to famous
• 32:30
  Speaker 3: rock musicians, you're very hard pressed to find many fathers
• 32:34
  Speaker 3: of the real household, name a listers who had regular
• 32:37
  Speaker 3: working class jobs like a plumber. Instead, they were all
• 32:41
  Speaker 3: lieutenant colonels or governors or you know, lord mayors or whatever.
• 32:45
  Speaker 3: And I've often wondered what would happen if the same
• 32:49
  Speaker 3: number of plumbers turned up dead as do rock musicians
• 32:55
  Speaker 3: and actors. So, you know, news breaks that, oh, Michael
• 32:59
  Speaker 3: Jackson's die and people are like, oh dear, that's terrible.
• 33:02
  Speaker 3: When you Houston's died in a bathtub, Oh dear, that's terrible.
• 33:06
  Speaker 3: Now Prince has died in an elevator, Oh dear, that's terrible.
• 33:09
  Speaker 3: And it's all chalked up as well. You know, that's
• 33:12
  Speaker 3: the music game for you. These rock stars, they do drugs,
• 33:15
  Speaker 3: and they live these crazy lives and it's no wonder
• 33:18
  Speaker 3: so many of them wash up dead. You know, But
• 33:20
  Speaker 3: if new started coming through that today a plumber died
• 33:24
  Speaker 3: in you know, Buffalo, New York, and oh, a plumber
• 33:28
  Speaker 3: died today in Orlando, Florida, and a plumber died today
• 33:32
  Speaker 3: in Manchester, England. Eventually, wouldn't people start asking what is it?
• 33:37
  Speaker 2: What's going on?
• 33:38
  Speaker 3: Why is plumbing such a dangerous profession? What did they
• 33:41
  Speaker 3: all drown in bathroom floods? Why are all these plumbers
• 33:44
  Speaker 3: turning up dead? But because it's musicians and rock stars,
• 33:47
  Speaker 3: they just.
• 33:48
  Speaker 2: Get away with it.
• 33:49
  Speaker 3: So I think that's why there's such a high body count.
• 33:52
  Speaker 3: The controllers can knock many of these individuals off if
• 33:55
  Speaker 3: that's what's happening, and I think it personally is. And
• 33:59
  Speaker 3: the public don't demand full inquiries, they don't demand full answers.
• 34:05
  Speaker 3: They just accept what they're told in the mainstream that
• 34:08
  Speaker 3: it's an unfortunate byproduct of these industries. Folks, that's fame
• 34:11
  Speaker 3: and fortune. And you know, these crazy lives lived in
• 34:14
  Speaker 3: the public spotlight for you getting away with it.
• 34:19
  Speaker 1: Well, they're also probably like, well, they were rich and famous,
• 34:22
  Speaker 1: they had their five minutes of family, had all this money.
• 34:25
  Speaker 1: You know, who really cares, so you know, they were
• 34:29
  Speaker 1: way better off than me, so what they died young?
• 34:33
  Speaker 1: I mean Amy Winehouse, same scenario. There's so many of
• 34:37
  Speaker 1: them that it's like it's almost like we've been desensitized
• 34:43
  Speaker 1: to it in a lot of ways. I mean Kirk
• 34:45
  Speaker 1: Coban as well. Have you seen the information that's been
• 34:47
  Speaker 1: coming out about Kirk Coban.
• 34:49
  Speaker 3: Well, it's been coming out for years. It's pretty much
• 34:52
  Speaker 3: on the public record now that he was murdered. You know,
• 34:55
  Speaker 3: I think the idea that he committed suicide, very few
• 34:59
  Speaker 3: people accept that anymore. But information has been leaking out
• 35:02
  Speaker 3: for years pointing to the fact that he was murdered,
• 35:05
  Speaker 3: but still no perpetrators brought to justice. You know, whoever
• 35:08
  Speaker 3: it was still walking around out there.
• 35:11
  Speaker 1: That's the problem with a lot of this stuff is
• 35:14
  Speaker 1: that it seems like we just kind of keep rolling on,
• 35:17
  Speaker 1: like nobody really cares us on to the next thing.
• 35:22
  Speaker 1: A couple of weeks ago, it was the Opstein files,
• 35:25
  Speaker 1: then it was the UFO files, and now it's War
• 35:27
  Speaker 1: with Iran. When we didn't get any answers or any conclusions,
• 35:32
  Speaker 1: really to the first thing that happened just a couple
• 35:36
  Speaker 1: of weeks ago. But people have already forgotten about that,
• 35:39
  Speaker 1: and they've already moved on with their lives. It's almost
• 35:42
  Speaker 1: exactly like with COVID. I feel like everyone has just
• 35:46
  Speaker 1: kind of forgotten about COVID, and I've recently gone back
• 35:49
  Speaker 1: and gotten reasonably pissed off about nine to eleven, and
• 35:54
  Speaker 1: I'm thinking to myself, how did we let this happen?
• 35:56
  Speaker 1: How did we let this happen with absolutely no investigation.
• 36:01
  Speaker 1: You're telling me that nobody in high up government said
• 36:07
  Speaker 1: this is freaking weird. Why did these buildings collapse like this?
• 36:14
  Speaker 1: What hit the Pentagon? Why was there absolutely no plane
• 36:19
  Speaker 1: wreckage in Pennsylvania where the plane supposedly went down. That
• 36:25
  Speaker 1: just made a crater? And oh, I got balloons. I
• 36:28
  Speaker 1: did the air quotes where the plane supposedly went down.
• 36:33
  Speaker 1: There's just a crater there. There's no airplane wreckage, hardly
• 36:37
  Speaker 1: zero airplane wreckage at the Pentagon, Like did no one
• 36:43
  Speaker 1: think that? I mean, it makes me kind of disappointed.
• 36:46
  Speaker 1: I was too young to do anything about it at
• 36:48
  Speaker 1: that point. I was like eight years old when the
• 36:53
  Speaker 1: planes hit the towers. I was too young to do
• 36:57
  Speaker 1: anything about it, but pretty disappointed in the adults of
• 37:04
  Speaker 1: that time, because literally every single news station said that
• 37:11
  Speaker 1: there were bombs. They all said that there were bombs.
• 37:15
  Speaker 1: The firefighters said that there were bombs, people that were
• 37:18
  Speaker 1: in the buildings, that eyewitnesses said that there were bombs.
• 37:21
  Speaker 1: There was even warnings of people to get out of
• 37:24
  Speaker 1: the building because they knew that the building was going
• 37:26
  Speaker 1: to collapse. I might be getting off on a tangent here,
• 37:30
  Speaker 1: but it's just kind of something that's resurfaced within me
• 37:33
  Speaker 1: that I didn't realize that I was that pissed off
• 37:35
  Speaker 1: about until again, until recently that I've been kind of
• 37:39
  Speaker 1: harboring these feelings about nine to eleven.
• 37:42
  Speaker 2: Well, we should be pissed off and with me.
• 37:45
  Speaker 3: I've been reliving the madness of COVID recently because I've
• 37:49
  Speaker 3: just completed my third truth fiction novel, The Tragedy and
• 37:52
  Speaker 3: the Triumph, which is set in those times. So this
• 37:55
  Speaker 3: is the third piece of fiction that I've written. The
• 37:58
  Speaker 3: first one I wrote into nineteen prior to all the
• 38:01
  Speaker 3: COVID madness, and this one was the Cause and the Cure.
• 38:04
  Speaker 3: It was set in the early nineties, nineteen ninety and
• 38:06
  Speaker 3: ninety one, based on my recollections of those times before
• 38:10
  Speaker 3: your time for the sounds of it, youngster, Yeah nineteen.
• 38:15
  Speaker 1: Yeh ninety three.
• 38:21
  Speaker 3: Yeah, great, great times in so many ways. So then
• 38:24
  Speaker 3: the second story I set in two thousand and one,
• 38:28
  Speaker 3: with the events of nine to eleven as the backdrop,
• 38:30
  Speaker 3: and it's the same characters from the first story, but
• 38:33
  Speaker 3: eleven years on, and I've got all the very real
• 38:37
  Speaker 3: events of those times as a backdrop to the narrative
• 38:42
  Speaker 3: as a subplot. And this latest story I've got the
• 38:45
  Speaker 3: same characters again, but this one is set in twenty twenty,
• 38:48
  Speaker 3: so it's thirty years on from the original, and the
• 38:51
  Speaker 3: characters have aged thirty years and been through a whole
• 38:54
  Speaker 3: lord of shit in their personal lives and stuff, and
• 38:57
  Speaker 3: they've evolved and changed, as in the Jaws, as we
• 39:00
  Speaker 3: do over time. But in researching this one, to get
• 39:05
  Speaker 3: the background detail authentic, I had to relive twenty twenty
• 39:10
  Speaker 3: and twenty one again, which in many ways was horrific
• 39:14
  Speaker 3: because I found myself wallowing in all the emotions and
• 39:18
  Speaker 3: all the trauma of those times. It was bad enough
• 39:21
  Speaker 3: bloody living through it the first time without having to
• 39:23
  Speaker 3: wallow in it again. And part of the reason for
• 39:26
  Speaker 3: that is because I'm producing a soundtrack, like a movie
• 39:29
  Speaker 3: style soundtrack. I think my novels are the only books
• 39:33
  Speaker 3: that come with their own movie style soundtracks. So I
• 39:37
  Speaker 3: take audio footage from the time, like little snippets of
• 39:40
  Speaker 3: news clips, and combine it with the music that was
• 39:43
  Speaker 3: around at the time. So the one from nineteen ninety
• 39:46
  Speaker 3: was great because the music that was around in the
• 39:48
  Speaker 3: early nineties was incredible, and I've put it with bits
• 39:51
  Speaker 3: of audio from things like the Gulf War or the
• 39:54
  Speaker 3: invasion of Kuwait by Iraq by Sadam Hussein in nineteen ninety,
• 40:00
  Speaker 3: and the last days of Margaret Thatcher her regime in
• 40:03
  Speaker 3: Britain and the poll tax riots that went on over here,
• 40:06
  Speaker 3: and acid house and rave culture, which was a big
• 40:09
  Speaker 3: thing in those times.
• 40:10
  Speaker 2: And then for the two thousand and one.
• 40:12
  Speaker 3: Story, I've got all the news footage from nine to
• 40:14
  Speaker 3: eleven combined with music from the times. And for this
• 40:17
  Speaker 3: story twenty twenty, I've got snippets.
• 40:19
  Speaker 2: Of all these.
• 40:22
  Speaker 3: Creeps, all these psychopaths, all these traitors to humanity like
• 40:28
  Speaker 3: Fouci and Gates and Trump, even you know, first time
• 40:33
  Speaker 3: round Trudeau, R Dern Boris Johnson, Matt Hancock, Chris Whitty,
• 40:39
  Speaker 3: all just lying blatantly, lying through their teeth, knowing what
• 40:43
  Speaker 3: they're doing. And it just reminded me of how all
• 40:47
  Speaker 3: these so called governments of the world did everything in
• 40:51
  Speaker 3: tandem with each other, all at the same time. So again,
• 40:54
  Speaker 3: like you were saying there, questioning why certain things weren't
• 40:59
  Speaker 3: addressed at the time of nine to eleven, how can
• 41:01
  Speaker 3: it be that pretty much every nation on earth looked
• 41:06
  Speaker 3: at the situation with this supposed virus and went, hm, Now,
• 41:10
  Speaker 3: I think the way to deal with this is lockdowns.
• 41:14
  Speaker 3: Get people to stay at home, get people to wear masks,
• 41:17
  Speaker 3: shut down, their businesses were shut down, schools were basically
• 41:20
  Speaker 3: put the whole nation on hold. And then the next
• 41:23
  Speaker 3: nation along goes, yes, we've looked at the evidence and
• 41:25
  Speaker 3: we too believe that masks and lockdowns and social distancing
• 41:28
  Speaker 3: the best way to go, And then you know, ninety
• 41:31
  Speaker 3: other nations all go yes, yes, we think that's the
• 41:33
  Speaker 3: way to go as well. Is it not obvious that
• 41:36
  Speaker 3: it was a coordinated worldwide plan. It was an agenda
• 41:40
  Speaker 3: that was long planned for. It was in movies, TV shows,
• 41:43
  Speaker 3: and music videos decades before depictions of what would come
• 41:47
  Speaker 3: to pass in twenty twenty drip fed into the subconscious
• 41:51
  Speaker 3: minds of the viewing public for all those years and
• 41:54
  Speaker 3: decades beforehand. It's so obvious, and it just made me
• 41:57
  Speaker 3: so mad to revisit all this and to reflect that
• 42:01
  Speaker 3: here we are six years on and not a whole
• 42:03
  Speaker 3: lot has changed, not a whole lot of lessons.
• 42:06
  Speaker 2: Have been learned. Yes there are.
• 42:08
  Speaker 3: You could argue that there's quite a number of people
• 42:11
  Speaker 3: that have woken up. Do I get balloons?
• 42:13
  Speaker 2: If I do wear quotes?
• 42:15
  Speaker 1: No, doesn't look like you hear bones. It's only me
• 42:17
  Speaker 1: and the special one.
• 42:19
  Speaker 2: It's not working for me.
• 42:20
  Speaker 3: And yes, we've got hundreds of thousands, if not a
• 42:23
  Speaker 3: few million on our side now, which wouldn't have been
• 42:26
  Speaker 3: the case before. So you could make the case for
• 42:28
  Speaker 3: that being a positive outcome. But in terms of the
• 42:32
  Speaker 3: perpetrators of these agendas, and let's not forget many people
• 42:37
  Speaker 3: lost loved ones, family members as a result of deliberate,
• 42:43
  Speaker 3: coordinated action towards population reduction. Most people will have lost
• 42:49
  Speaker 3: someone within their immediate family or circle of friends, or
• 42:53
  Speaker 3: will know somebody that has. That should be enough of
• 42:57
  Speaker 3: a catalyst to make a whole load of peace mad and.
• 43:01
  Speaker 2: To demand answers and.
• 43:05
  Speaker 3: For those that perpetrated these outrages to be brought to justice.
• 43:10
  Speaker 3: And yet what do we have Fauci walking around a
• 43:13
  Speaker 3: free man. Gates walking around a free man. Gates was
• 43:16
  Speaker 3: on the friggin' Epstein locks and this is public knowledge,
• 43:20
  Speaker 3: but he's still walking around a free man. Hancock, Johnson,
• 43:26
  Speaker 3: all of them, you know, every bloody so called world leader,
• 43:29
  Speaker 3: walking around completely free. Not a single one of them
• 43:32
  Speaker 3: did a single night of jail time. They're not even
• 43:34
  Speaker 3: being called to account, not even being asked to explain
• 43:40
  Speaker 3: why they made the decisions that they did. And that's
• 43:44
  Speaker 3: why it's pretty bloody depressing to look back at what
• 43:47
  Speaker 3: happened in twenty twenty and to reflect on where we're
• 43:50
  Speaker 3: at now, and you know, not too much has changed.
• 43:52
  Speaker 3: And this is the main narrative of my story, the
• 43:55
  Speaker 3: tragedy and the triumph. Why I've called it that is
• 43:58
  Speaker 3: because the tragedy of it is obvious. It's what I've
• 44:01
  Speaker 3: just outlined. The triumph part in my story is that
• 44:07
  Speaker 3: the masses within Oxford. So my stories are set in
• 44:10
  Speaker 3: the city of Oxford, which is where I grew up,
• 44:13
  Speaker 3: is a place I know very well, and Oxford serves
• 44:16
  Speaker 3: as a microcosm for the world at large. So everything
• 44:20
  Speaker 3: that happens within the Oxford Ring Road is like a
• 44:24
  Speaker 3: metaphor for what could be happening elsewhere in the world,
• 44:27
  Speaker 3: in the entire world. So the people of Oxford do
• 44:31
  Speaker 3: rise up eventually, they do take to the streets, they
• 44:35
  Speaker 3: do rebel, they do vow to bring down this insidious,
• 44:40
  Speaker 3: tyrannical control system, and they take steps to achieve this,
• 44:46
  Speaker 3: you know, unify and coordinate and get the thing done.
• 44:50
  Speaker 3: And this is what we should be seeing in the
• 44:53
  Speaker 3: world as a result of what's been done to all
• 44:55
  Speaker 3: of us, but sadly we're not. So at least I
• 44:57
  Speaker 3: can make it happen in my story at least like
• 45:00
  Speaker 3: another happy ending there. And it does take some pretty
• 45:03
  Speaker 3: extreme measures for the masses to get motivated to this
• 45:07
  Speaker 3: sort of action in my story, and I feel that
• 45:11
  Speaker 3: is what it's going to take if this is ever
• 45:14
  Speaker 3: going to happen, you know, in the real world, it's
• 45:17
  Speaker 3: going to take some pretty extreme circumstances to light that
• 45:23
  Speaker 3: touch paper. And I don't know what that would ever
• 45:26
  Speaker 3: look like if it's ever going to happen. But writing
• 45:30
  Speaker 3: this story just kind of served as a reminder of
• 45:34
  Speaker 3: that principle to me.
• 45:36
  Speaker 1: I think that they believed that they had everybody so docile,
• 45:43
  Speaker 1: so medicated up, so zombiefied, that they knew that they
• 45:49
  Speaker 1: could get away with it. Because now it's practically not
• 45:53
  Speaker 1: a big deal anymore. Mark like, they've admitted that the
• 45:57
  Speaker 1: shots basically did nothing, ask were nothing. It didn't work,
• 46:03
  Speaker 1: it didn't help. The social distancing did nothing, The closing
• 46:06
  Speaker 1: of businesses did nothing. They've all but admitted that, at
• 46:10
  Speaker 1: least in the United States, they kind of have in
• 46:13
  Speaker 1: an a roundabout way. They haven't come out and directly
• 46:17
  Speaker 1: set it, but it's been put into documents that people
• 46:20
  Speaker 1: can see, right And I'm pretty sure that they knew
• 46:24
  Speaker 1: that they could get away with it because the traumatization
• 46:27
  Speaker 1: level was so high to everybody on the planet all
• 46:32
  Speaker 1: at one time that the feeling of normalcy. They just
• 46:37
  Speaker 1: wanted to get back to the normalcy, and they would have.
• 46:40
  Speaker 1: I don't know who was happy with the normalcy. Who
• 46:43
  Speaker 1: was happy with the normalcy to begin with. It's like
• 46:47
  Speaker 1: the people that have been in this community didn't know
• 46:49
  Speaker 1: about all of this stuff before it did. Why were
• 46:54
  Speaker 1: you so ready to go back to the thing that
• 46:58
  Speaker 1: you hated so much. Literally did not make a lot
• 47:02
  Speaker 1: of sense to me, Mark, But I'm pretty sure that
• 47:05
  Speaker 1: they knew that they could get away with it. That's
• 47:08
  Speaker 1: the reason that they did it in the first place,
• 47:10
  Speaker 1: because they would not have done it if they believed
• 47:15
  Speaker 1: that there was a high risk chance of rebellion. There's
• 47:21
  Speaker 1: a like the event to a one with Bill Gates, right,
• 47:26
  Speaker 1: that was a pandemic simulation, Like they ran this simulation
• 47:32
  Speaker 1: so many times, and they knew that they That was
• 47:35
  Speaker 1: what the simulation was for, was the figure out if
• 47:39
  Speaker 1: they could get away with it or not.
• 47:42
  Speaker 3: Yeah, well they'd been putting it into movies and TV
• 47:45
  Speaker 3: shows for decades, like I said, so it was a
• 47:47
  Speaker 3: long plan for thing. And as you observed, they wouldn't
• 47:52
  Speaker 3: have gone ahead with it unless they were absolutely confident
• 47:55
  Speaker 3: that they had the public's consciousness right where they wanted
• 47:58
  Speaker 3: it to be and that they owe people's minds. And
• 48:02
  Speaker 3: to be fair, they did employ military grade psychological weaponry
• 48:09
  Speaker 3: in that agenda. You know it was being coordinated, I
• 48:13
  Speaker 3: would argue out of Tavistock in London, which is like
• 48:16
  Speaker 3: the world leading center of mind control fomentation, where psyops
• 48:22
  Speaker 3: of all kinds are cooked up by behavioral scientists and
• 48:25
  Speaker 3: psychologists and these people that know exactly how the human
• 48:28
  Speaker 3: psyche works and therefore how it can be manipulated and played.
• 48:33
  Speaker 3: So we were up against a formidable enemy in this one,
• 48:39
  Speaker 3: and they threw everything they had at us. But at
• 48:42
  Speaker 3: the same time, they were very confident that they were
• 48:44
  Speaker 3: going to get away with it, and they did. And
• 48:47
  Speaker 3: I hate it that they seem to have called it
• 48:50
  Speaker 3: absolutely correctly, because they must have known that none of
• 48:53
  Speaker 3: them were going to get called out for it, none
• 48:55
  Speaker 3: of them were going to have to serve justice for it.
• 48:59
  Speaker 3: There was going to be any kind of uprising of
• 49:01
  Speaker 3: rebellion in the streets, they didn't have to worry about that,
• 49:04
  Speaker 3: And even if there had been, they possessed the strength
• 49:09
  Speaker 3: to be able to put that down and suppress it.
• 49:13
  Speaker 3: So the audacity of the whole thing is just astounding,
• 49:17
  Speaker 3: and also the hubris and the arrogance of just coming
• 49:21
  Speaker 3: up with a plan like this in the first place,
• 49:23
  Speaker 3: to basically lock down the entire world and affect the
• 49:26
  Speaker 3: lives of absolutely everyone within it. So it's a pretty
• 49:32
  Speaker 3: sobering thing to recall what was done to us people
• 49:36
  Speaker 3: have all kinds of theories as to why we were
• 49:38
  Speaker 3: allowed to pretty much return to how things were in
• 49:41
  Speaker 3: twenty nineteen from sort of twenty twenty two onwards, and
• 49:46
  Speaker 3: many people would argue that that's not a great thing,
• 49:48
  Speaker 3: because the world was not in a great condition then.
• 49:51
  Speaker 3: But things aren't as tyrannical and as dystopian as so
• 49:56
  Speaker 3: many of us thought they would be. I remember in
• 50:00
  Speaker 3: twenty twenty and twenty one thinking, well, this is it.
• 50:02
  Speaker 3: You know, life as we know it is over, because
• 50:06
  Speaker 3: it's only going to be downhill from here. Our quality
• 50:08
  Speaker 3: of life has just taken a major down for so
• 50:14
  Speaker 3: I was as surprised as anyone to see international travel
• 50:18
  Speaker 3: open back up again and society basically returned to where
• 50:21
  Speaker 3: it was, because I had considered that the plan was
• 50:24
  Speaker 3: to keep everything just locked down on an ongoing basis.
• 50:28
  Speaker 3: So it makes me wonder, going back to what we
• 50:30
  Speaker 3: were talking about earlier, about when they replace people like
• 50:33
  Speaker 3: Jim Carey and Madonna and Paul McCartney, whether in very
• 50:38
  Speaker 3: large part these are experiments to see how many people
• 50:42
  Speaker 3: notice and what they can get away with. So maybe
• 50:45
  Speaker 3: the whole COVID agenda was a massive exercise on a
• 50:50
  Speaker 3: much larger scale to see whether they could get away
• 50:53
  Speaker 3: with that. There would have been very confident that they could,
• 50:56
  Speaker 3: but they just wanted to test the waters, nevertheless, and
• 50:59
  Speaker 3: just assure themselves that they really did have the public's
• 51:03
  Speaker 3: mindset exactly where they wanted it, and they would have
• 51:06
  Speaker 3: walked away from that one if that's what it was,
• 51:08
  Speaker 3: a massive social experiment, very satisfied with the accuracy with
• 51:13
  Speaker 3: which they called it. Had the great job that these
• 51:16
  Speaker 3: behavioral scientists and psychologists did in predicting the way people
• 51:20
  Speaker 3: would respond to it, which for the most part was
• 51:23
  Speaker 3: exactly the way they knew they would, with a few
• 51:27
  Speaker 3: honorable exceptions.
• 51:29
  Speaker 1: But the thing about it is, I don't believe that
• 51:31
  Speaker 1: they could do it again so soon. I don't think
• 51:36
  Speaker 1: that they could do it again. It would be it
• 51:38
  Speaker 1: would not pass a small house. But you're talking about
• 51:42
  Speaker 1: things that were setting up for twenty twenty, and that
• 51:44
  Speaker 1: reminds me of the movie Contagion that came out in
• 51:47
  Speaker 1: twenty and eleven, and uh, just you know, nine short
• 51:52
  Speaker 1: years later after that movie came out, almost everything in
• 51:58
  Speaker 1: that movie came true down to the details, right, Barrymore
• 52:03
  Speaker 1: and Virus supposedly Rake pandemic mask, even the freaking toilet paper, wrong,
• 52:11
  Speaker 1: supermarket's empty, and of course the vaccine at the very
• 52:14
  Speaker 1: end of the movie. It's exactly how our reality played out.
• 52:20
  Speaker 3: And that movie was taken by Matt Hancock, who was
• 52:25
  Speaker 3: the Health Secretary in Boris Johnson's government in twenty twenty,
• 52:30
  Speaker 3: as his blueprint for how the UK was going to
• 52:33
  Speaker 3: handle the so called pandemic, and he actually admitted this
• 52:38
  Speaker 3: in a Parliament hearing. He said, well, you know, I've
• 52:41
  Speaker 3: been taking guidance from this movie Contagion from twenty eleven
• 52:44
  Speaker 3: and all the things that they were doing in that movie,
• 52:47
  Speaker 3: I think we need to do now, you know, social
• 52:49
  Speaker 3: distancing and they even called it that social distancing. Who'd
• 52:52
  Speaker 3: ever heard of that term before that movie? And you
• 52:55
  Speaker 3: know six feet apart and the wearing of masks and
• 52:57
  Speaker 3: shutting down schools. I think we need to do all this.
• 53:00
  Speaker 3: So basically it was his way of telling everyone, it's
• 53:03
  Speaker 3: a friggin movie. You're watching a movie. It's fiction, it's fantasy,
• 53:08
  Speaker 3: it's imagination. None of it is real. And then a
• 53:12
  Speaker 3: few months down the line, when the UK's vaccination program
• 53:16
  Speaker 3: is announced as the only possible way out of the
• 53:20
  Speaker 3: pandemic situation, just like in the movie. Hancock appears on
• 53:24
  Speaker 3: TV on Piers Morgan's morning chat show, and he's fake
• 53:29
  Speaker 3: crying and it's so bloody obvious. I dug out the
• 53:32
  Speaker 3: footage again the other day to put together this soundtrack
• 53:35
  Speaker 3: for my book and it's just disgusting. You've got Hancock
• 53:39
  Speaker 3: and he's laughing and he's pretending to wipe away a
• 53:42
  Speaker 3: tear but you can see stifling a laugh. It's this
• 53:45
  Speaker 3: classic psychopaths duper's delight thing, and he's trying to mimic
• 53:51
  Speaker 3: human emotion because he doesn't have these himself. Psychopaths lack
• 53:57
  Speaker 3: the full range of human emotions, the fall, you know,
• 54:02
  Speaker 3: range within their capabilities.
• 54:05
  Speaker 2: So he's pretending to cry.
• 54:07
  Speaker 3: And he's trying to act the way a regular person
• 54:11
  Speaker 3: might when they're overcome by emotion in this way, but
• 54:14
  Speaker 3: he can't stop himself from laughing. And the reason he's
• 54:16
  Speaker 3: laughing is because they've just introduced the first person in
• 54:21
  Speaker 3: Britain to receive the new COVID vaccine and it's this
• 54:23
  Speaker 3: old boy and his name is given as William Shakespeare.
• 54:29
  Speaker 3: And Hancock is there laughing, pissing himself, and Piers Morgan's
• 54:33
  Speaker 3: in on it because if he was a real journalist,
• 54:36
  Speaker 3: he would say, excuse me, mister Hancock, you appear to
• 54:38
  Speaker 3: be laughing. Why are you laughing, sir? But of course
• 54:42
  Speaker 3: he just lets him get away with it. And Hancock's
• 54:44
  Speaker 3: pissing himself laughing because he's just said, this guy's William Shakespeare.
• 54:48
  Speaker 3: It's his coded way of telling you, this is fiction.
• 54:53
  Speaker 3: What you're watching is fiction.
• 54:54
  Speaker 2: It's a play.
• 54:56
  Speaker 3: That's why they chose the name William Shakespeare. So it's
• 55:00
  Speaker 3: right there in plain sight. People are watching this stuff
• 55:04
  Speaker 3: on their TVs in their living rooms and soaking it
• 55:08
  Speaker 3: all up into their subconscious and they're just accepting it.
• 55:11
  Speaker 3: Most people, I mean some noticed, of course, but most
• 55:14
  Speaker 3: people just go along with it. And Hancock gets away
• 55:18
  Speaker 3: with it as they all do. And yeah, it's a
• 55:21
  Speaker 3: pretty damning indictment of the psychology and the level of
• 55:26
  Speaker 3: consciousness of the vast, overwhelming bulk of humanity, not just
• 55:31
  Speaker 3: in Britain but everywhere.
• 55:33
  Speaker 1: That's insanity that he used of fictional movie to inform
• 55:43
  Speaker 1: him on real life posy, Right, that's literally insanity. Yeah,
• 55:53
  Speaker 1: I really can't believe that. So no, I mean I
• 55:56
  Speaker 1: believe it. I believe exactly what you're telling you. But
• 55:59
  Speaker 1: it's just so ridiculous that it seems unbelievable that that
• 56:04
  Speaker 1: would be allowed. I mean, they're running an entire country
• 56:09
  Speaker 1: and you watch a movie from two thy and eleven
• 56:12
  Speaker 1: and decide to make your laws and pass your policy
• 56:15
  Speaker 1: based off of a fictional movie that happened nine years
• 56:21
  Speaker 1: ago that wasn't even real. It's freaking unbelievable.
• 56:27
  Speaker 3: It tells you all you need to know. And Hancock
• 56:29
  Speaker 3: was totally incompetent, you know, totally unfit for office. He
• 56:32
  Speaker 3: was just this bumbling, low iq imbecile and then supposedly
• 56:39
  Speaker 3: running the country although really just take an instruction from
• 56:43
  Speaker 3: those that really run things. Is the bumbling buffoon Johnson?
• 56:47
  Speaker 3: I mean, how anyone could take this guy seriously.
• 56:52
  Speaker 2: Loockdown and be the virus huge?
• 56:54
  Speaker 4: It's getting out of control, folks, And whoever talks like that,
• 56:58
  Speaker 4: how can you take anyone like that serial with this
• 57:01
  Speaker 4: ridiculous Etonian dialect and just completely out of touch with
• 57:07
  Speaker 4: the way regular people live their lives because all he's
• 57:10
  Speaker 4: ever known is wealth and privilege and.
• 57:14
  Speaker 3: You know, having everything handed to him on a plate.
• 57:16
  Speaker 3: These people are just ridiculous totally incompetent, just fools, dunces, morons,
• 57:26
  Speaker 3: and people take instruction from them, and people allow their
• 57:29
  Speaker 3: lives to be dictated to by individuals like this. It's
• 57:33
  Speaker 3: just it's just tragic.
• 57:36
  Speaker 2: Man.
• 57:36
  Speaker 1: Well you also have like the Terminator in nine, twenty
• 57:42
  Speaker 1: twenty nine was the start of the machine war against
• 57:45
  Speaker 1: the humans. The prompted Sky had to send the Terminator
• 57:49
  Speaker 1: back in time to kill Sarah Connor. And we had
• 57:53
  Speaker 1: Elon Musk saying last year that if you're going to
• 57:57
  Speaker 1: get rich, you better do it now because in around
• 58:01
  Speaker 1: four years, it's not going to matter anymore because AI
• 58:07
  Speaker 1: will essentially be running the show by then. So I mean,
• 58:13
  Speaker 1: I'm not lines up with the Terminator timeline there, But
• 58:20
  Speaker 1: I believe that there's a one movie that is really
• 58:26
  Speaker 1: important for us to re examine, and that movie is
• 58:33
  Speaker 1: Civil War. The movie came out in twenty twenty four,
• 58:40
  Speaker 1: and I think that this needs to be taken seriously
• 58:43
  Speaker 1: because the civil war inside of that movie started because
• 58:49
  Speaker 1: the president refused to leave office after serving his terms,
• 58:57
  Speaker 1: like I feel is a real possibility with Trump in
• 59:02
  Speaker 1: twenty twenty eight, and it seems like everything's kind of
• 59:06
  Speaker 1: been set in motion for that happening. I've even seen
• 59:10
  Speaker 1: some kind of rumblings online. I spoke about this, I
• 59:14
  Speaker 1: don't know, four or five months ago on another show
• 59:18
  Speaker 1: that I did, and I was like, this kind of
• 59:21
  Speaker 1: seems like what's going on. He's trying to line up
• 59:23
  Speaker 1: the corruption angle. He's trying to line up that it
• 59:26
  Speaker 1: was the twenty twenty election was stolen. And if he
• 59:30
  Speaker 1: can prove that the twenty twenty election really was stolen,
• 59:33
  Speaker 1: then that will give him the okay in his mind
• 59:38
  Speaker 1: that he could run for a third term. So then
• 59:40
  Speaker 1: all he has to do is kind of we write
• 59:45
  Speaker 1: the Constitution and get it to a Supreme Court judge
• 59:50
  Speaker 1: to sign off on it, and then boom, he's running
• 59:53
  Speaker 1: for a third term and that will be the end
• 59:57
  Speaker 1: of the United States.
• 1:00:00
  Speaker 3: By which point dude will be what eighty two? So yeah,
• 1:00:04
  Speaker 3: an eighty two year old president. What could possibly go wrong?
• 1:00:08
  Speaker 3: Joe Biden?
• 1:00:09
  Speaker 2: Anyone?
• 1:00:11
  Speaker 1: That's another one that I can't believe. I can't believe
• 1:00:13
  Speaker 1: that we let Joe Biden be president. That is one
• 1:00:15
  Speaker 1: that we are going to look back on, I believe
• 1:00:19
  Speaker 1: and be like, what were we thinking? How did we
• 1:00:23
  Speaker 1: let this bumbling idiot that can't string two to three
• 1:00:28
  Speaker 1: words together in a coherent sentence be president for four years.
• 1:00:34
  Speaker 3: Well, I would argue that that wasn't him. Going back
• 1:00:38
  Speaker 3: to doubles again. I mean, there are some sort of
• 1:00:41
  Speaker 3: alleged replacements where it's difficult to prove that this was
• 1:00:45
  Speaker 3: what actually took place. But when it comes to Joe Biden,
• 1:00:49
  Speaker 3: whoever or whatever that was that occupied the White House
• 1:00:52
  Speaker 3: for those four years was not the original biological Joe Biden.
• 1:00:55
  Speaker 2: All you got to.
• 1:00:56
  Speaker 3: Do is look at photographs of the real Joe Biden
• 1:00:59
  Speaker 3: from when he was part Obama's vice president sort of
• 1:01:02
  Speaker 3: two thousand and eight backwards. And interestingly, most of these
• 1:01:06
  Speaker 3: pictures have been scrubbed from the Internet a.
• 1:01:09
  Speaker 2: Few years ago. Pictures of the real Biden just disappeared,
• 1:01:15
  Speaker 2: and there's very few that you can get.
• 1:01:16
  Speaker 3: I think if you do a Google image search now
• 1:01:19
  Speaker 3: under Joe Biden two thousand and eight, you get a
• 1:01:22
  Speaker 3: couple of images that you can use to compare with
• 1:01:24
  Speaker 3: the ones of this individual that was in the White
• 1:01:27
  Speaker 3: House for those four years, and from that alone, you
• 1:01:29
  Speaker 3: can see it's not the same person. You know, this
• 1:01:32
  Speaker 3: guy was replaced a name which constantly comes up as
• 1:01:36
  Speaker 3: a suggestion for the guy that was playing the public
• 1:01:39
  Speaker 3: role of Joe Biden is a British actor from Manchester
• 1:01:43
  Speaker 3: by the name of Struan Roger. That's Roger with a
• 1:01:47
  Speaker 3: D and Struan spelled Struam, which is an anagram of Saturn.
• 1:01:55
  Speaker 3: And this guy has got an IMDb profile. So if
• 1:01:58
  Speaker 3: you look up Struan Roger, yuh, you will notice that
• 1:02:01
  Speaker 3: a couple of the pictures you'll find there resemble very
• 1:02:05
  Speaker 3: much the individual that we've known as Joe Biden these
• 1:02:09
  Speaker 3: past few years. So that appears to be what was
• 1:02:12
  Speaker 3: done there, and again it was done in plain sight.
• 1:02:15
  Speaker 3: I mean, people say, when it comes to Paul McCartney,
• 1:02:18
  Speaker 3: how can they replace one of the best known musicians
• 1:02:21
  Speaker 3: and best known celebrities in the world, and nobody noticed,
• 1:02:23
  Speaker 3: all cared. Well, how about replacing the President of the
• 1:02:27
  Speaker 3: United States or the King of England and nobody notices,
• 1:02:32
  Speaker 3: all cares. So there's the ultimate acid test for you
• 1:02:37
  Speaker 3: when they can get away with that and did.
• 1:02:41
  Speaker 1: Yeah, And people were like, oh, Joe Biden was so bad.
• 1:02:45
  Speaker 1: It became such really apparent that last year during the
• 1:02:50
  Speaker 1: debate that Biden wasn't cognitively there, and I was like,
• 1:02:54
  Speaker 1: what Joe Biden had you been watching for the past
• 1:02:57
  Speaker 1: four years. He was always like that for those four years.
• 1:03:03
  Speaker 1: From the first debate in the twenty twenty election, he
• 1:03:07
  Speaker 1: was like that. He was just as bad. I mean,
• 1:03:09
  Speaker 1: he got work, he did get worse, but it was
• 1:03:12
  Speaker 1: pretty much the same throughout the entire presidency. So you
• 1:03:17
  Speaker 1: can get up there is random ass shit that didn't
• 1:03:20
  Speaker 1: make any kind of coherence at all. I remember the
• 1:03:23
  Speaker 1: ice cream thing. Oh look ice contruc in the middle
• 1:03:26
  Speaker 1: of a speech and what are you doing.
• 1:03:28
  Speaker 3: Row, Yeah, sniffing kid's hair, pooping his pants on the
• 1:03:32
  Speaker 3: golf course. So the question arises if it was an
• 1:03:35
  Speaker 3: actor playing the role, and I would contend that it was.
• 1:03:39
  Speaker 3: Did the actor himself have dementia? And was this just
• 1:03:43
  Speaker 3: him playing the role to the best of his abilities
• 1:03:47
  Speaker 3: or was he fully cognizant that he was portraying somebody
• 1:03:53
  Speaker 3: with dementia? Was that the act Was he deliberately pretending
• 1:03:58
  Speaker 3: to be mentally retarded as part of the acting role.
• 1:04:02
  Speaker 2: I guess we'll never know.
• 1:04:05
  Speaker 1: Well that would be the move. Is they get somebody
• 1:04:08
  Speaker 1: with the actual dementia, because then you got you gotta
• 1:04:10
  Speaker 1: win win right there, Like you're not going to lose
• 1:04:13
  Speaker 1: on that one. You got a person, you got an
• 1:04:15
  Speaker 1: actor playing a role that actually has dementia. But here's
• 1:04:19
  Speaker 1: one for you. Some people believed that Jim Carrey was
• 1:04:27
  Speaker 1: playing Joe Biden. Did you hear that?
• 1:04:31
  Speaker 2: Yeah, I've heard that, But my money is still on this.
• 1:04:34
  Speaker 2: Dude's Truman, Roger.
• 1:04:39
  Speaker 1: Well Mark. We've covered a lot here today. We've went
• 1:04:42
  Speaker 1: all over the place. It's been amazing talking with you.
• 1:04:45
  Speaker 1: Very much. Enjoy it. We need to do it again sometime.
• 1:04:47
  Speaker 1: Can you let people know where they can find you
• 1:04:51
  Speaker 1: and plug your new book? And when will your new
• 1:04:54
  Speaker 1: book be out?
• 1:04:57
  Speaker 2: Sure?
• 1:04:57
  Speaker 3: Well, I'm aiming for the twenty second of March for
• 1:05:01
  Speaker 3: the release of my new novel. So that's three two
• 1:05:03
  Speaker 3: two in the American date format. And I've chosen that
• 1:05:07
  Speaker 3: deliberately because the occultists, the Satanis of this world like
• 1:05:10
  Speaker 3: to harness the incoming energy of the Spring equinox around
• 1:05:14
  Speaker 3: about that time of year, and you find that they
• 1:05:16
  Speaker 3: often launch many of their psyops and their stunts at
• 1:05:20
  Speaker 3: the time of the Spring equinox.
• 1:05:22
  Speaker 2: Almost every year there's a new war or a.
• 1:05:25
  Speaker 3: Terrorist activity that just happens to occur around that time.
• 1:05:29
  Speaker 3: So my idea is to launch my books at that
• 1:05:32
  Speaker 3: time of year to kind of offset some of that dark,
• 1:05:36
  Speaker 3: negative energy and hopefully harness the important power of those
• 1:05:42
  Speaker 3: times to empower something a bit more uplifting and beneficial
• 1:05:45
  Speaker 3: to humanity.
• 1:05:47
  Speaker 2: So I put out my book No.
• 1:05:48
  Speaker 3: One's Dad's a Plumber on three two two in twenty
• 1:05:51
  Speaker 3: twenty five, and I'm aiming for that date with this one.
• 1:05:54
  Speaker 3: So the new novel is called The Tragedy and the Triumph.
• 1:05:57
  Speaker 3: It's the completion of my truth fiction trilogy. I had
• 1:06:00
  Speaker 3: a great deal of fun writing it. It was very cathartic.
• 1:06:03
  Speaker 3: I poured a lot of my heart and soul into it,
• 1:06:05
  Speaker 3: and I'm very much looking forward to that getting out there.
• 1:06:08
  Speaker 3: So the paperback version will be on Amazon from around
• 1:06:11
  Speaker 3: that time, and anyone in America or Canada or that
• 1:06:16
  Speaker 3: side of the world is probably going to want to
• 1:06:18
  Speaker 3: get it on Amazon. I do post out copies, myself
• 1:06:21
  Speaker 3: signed copies here in the UK and Europe, but it's
• 1:06:24
  Speaker 3: been my experience when I try and send these things
• 1:06:27
  Speaker 3: out to America or Australia or further afield, they just
• 1:06:31
  Speaker 3: don't get there. They get seized by customs, or they
• 1:06:34
  Speaker 3: go missing. So the safest way to get hold of
• 1:06:37
  Speaker 3: the book is simply to get it from Amazon, or
• 1:06:38
  Speaker 3: if you really dislike Amazon, it's going to be on
• 1:06:41
  Speaker 3: Barnes and Noble. Other than that, all my work can
• 1:06:44
  Speaker 3: be accessed via my main website, which is Djmarkdevlin dot com,
• 1:06:49
  Speaker 3: so you can get through to my YouTube channel from there,
• 1:06:51
  Speaker 3: all my videos, my Patreon channel, my books links to
• 1:06:56
  Speaker 3: all my books, my music shows as well as my
• 1:06:59
  Speaker 3: speech based podcast. I do a couple of music shows
• 1:07:02
  Speaker 3: regularly as well, so dj mark Devlin is the place
• 1:07:06
  Speaker 3: tohead for all of that, and you can email me
• 1:07:08
  Speaker 3: from that site as well. My email addresses on there
• 1:07:11
  Speaker 3: if you want to correspond. So yep, that's it.
• 1:07:16
  Speaker 1: Thanks so much for coming on, Mark really appreciate it.
• 1:07:19
  Speaker 1: The links to Mark's information will be in the description
• 1:07:22
  Speaker 1: of this video. For everyone else, thanks for watching. Please
• 1:07:25
  Speaker 1: be sure to hit the thumbs up button up the
• 1:07:27
  Speaker 1: channel in the algorithm share subscribe to the bal icon
• 1:07:30
  Speaker 1: as well for notifications. All of my links are also
• 1:07:34
  Speaker 1: in the description of this video. And we'll see you
• 1:07:36
  Speaker 1: guys next time.
• 1:07:38
  Speaker 2: Bye, buy cheers,