The Mechanics of Deception.mp3

00:00:01 I've heard it.
00:00:01 Repeated time and time again that in order for the ruling class, the Satanic ruling class to do something to the unsuspecting slave class that they must first Telegraph it.
00:00:13 They have to tell you about what?
00:00:14 They're going to do.
00:00:15 To you before they do it.
00:00:17 I've heard lots of.
00:00:17 People say this, but I've never actually heard anyone explain.
00:00:22 Where this idea comes from?
00:00:23 I mean, if you really think.
00:00:24 About it, the idea isn't a.
00:00:27 New one.
00:00:29 Think about how many fables there are in which a man makes a deal with the devil.
00:00:34 Only to discover later that they were so wrapped up in the gift that the devil is bestowing on them.
00:00:40 That they didn't pay close.
00:00:42 Enough attention to the fine print of the contract.
00:00:46 You see the devil, despite the power of his seductive nature, it seems, at least in mythology.
00:00:53 That even he has to fully inform his prey of the consequences of accepting his gift before he can take their soul.
00:01:04 So maybe this is the origin behind the idea that the ruling class.
00:01:09 Has to fully inform their victims before they can feast on their souls.
00:01:16 Maybe this is some kind of twisted moral code that they feel alleviates them from any kind of wrongdoing.
00:01:24 Maybe it's some kind of twisted logic that justifies in their heads.
00:01:29 They're predatory existence.
00:01:31 There's really no way to know if this.
00:01:33 Really is the the modus operandi of the the evil that's managed to poor and congeal at the top of the the power hierarchy.
00:01:42 If it is.
00:01:44 What then is?
00:01:46 The fine print that we're all missing.
00:01:48 Where do they Telegraph?
00:01:51 The consequences of allowing them to rule where is this obscure legal language that describes in detail exactly how they plan to ruin us?
00:02:05 Some people suggest that the ruling class utilizes the same methods to communicate these hidden.
00:02:11 Clauses in the social contract the same way they communicate a lot of.
00:02:15 Things they don't.
00:02:15 Want to openly admit they use Hollywood?
00:02:18 And and probably because there are so many instances.
00:02:22 That, when examined closely, it does appear as if that's exactly what's happening. The age-old argument of is it art imitating life or life imitating art kind of gets pushed aside when some of these movies seem to depict future events with such stunning detail and accuracy that it seems that the only way.
00:02:43 This could happen as if the artists themselves.
00:02:47 Had prior knowledge.
00:02:48 Or as crazy.
00:02:49 As it might sound to a lot of people, maybe they're even instrumental in the planning and the execution.
00:02:55 One example of this.
00:02:57 Is the film wag the dog?
00:03:00 Wag the dog is so close to reality.
00:03:02 It doesn't even seem.
00:03:04 Like it's the ruling class telegraphing what it is they intend to do.
00:03:09 It seems like it's an instance of the ruling class rubbing it in our faces.
00:03:15 Wag the dog was released in 1997 and that's important to know because.
00:03:20 This was well.
00:03:21 Before 911 happened and it predates any popular understanding that there was a deep state by by decades, this is also a time before the Internet was widely available.
00:03:35 To the public, so almost everyone got their news from the networks owned by billionaires that sometimes act like quasi government agencies, you know, like CNN or or newspapers that are owned by billionaires who have very big contracts with the CIA.
00:03:52 Wag the dog was produced and directed by Barry Levinson.
00:03:56 Who just so happens to party in the Hamptons with Bill Clinton?
00:04:02 That's a significant point.
00:04:03 Not just because it shows his deep state ties and his ties to the ruling class, but because this coziness.
00:04:12 That Hollywood producers have with the ruling class, something Levinson is deeply aware of first hand is reflected and depicted in the film that he produced and directed.
00:04:24 So if there's anyone equipped.
00:04:27 To give an accurate accounting of this, it's going to be very Levinson.
00:04:31 In the context of today, it's easy to look back and wag the dog.
00:04:38 And kind of.
00:04:39 Perceive the opening of this film as.
00:04:42 Laughing in the.
00:04:43 Audience's face, even the title itself.
00:04:47 Could be viewed as part of this obscured legal language of.
00:04:51 The ruling class.
00:04:52 Wag the dog.
00:04:53 On its face, just seems like an entertaining word play.
00:04:57 It's not immediately apparent that there's any deeper meaning to it.
00:05:01 Most of the public will see.
00:05:03 These words and just think.
00:05:04 It's a humorous but meaningless phrase.
00:05:08 And so the film.
00:05:09 In its first few moments, tells you exactly what it means, knowing full well that by doing so it's not giving up any secrets to the sedated audience.
00:05:19 It's simply giving them what they crave amusement.
00:05:25 Why does a dog wag its tail?
00:05:29 The film asks with pleasant, unassuming serif font with patriotic yet folksy music.
00:05:36 Kind of playing in the background.
00:05:39 Because the dog is smarter than its tail, the answer comes.
00:05:45 If the tail were smarter, the tail would wag the dog.
00:05:53 They are telling you in just a few words in just the first few.
00:05:58 Seconds of the film.
00:06:00 That the way that the world works is that the intelligent manipulate the unintelligent.
00:06:07 That is the meaning of the title.
00:06:10 But it goes beyond that since the title is wag the dog, not wag the tail.
00:06:15 They're also saying that what you perceive as being the intelligent force behind world events is the complete opposite.
00:06:27 Of reality, and they're smugly telling you this literally in black and white before the movie even starts.
00:06:36 And before they tell you how they do it.
00:06:39 If this film is telegraphing.
00:06:42 It's doing it plain.
00:06:44 As day as those who are behind the film.
00:06:49 Are laughing in the faces of the audience before the.
00:06:52 Movie even begins.
00:06:54 And now that the film makers have had their little joke, the film now begins with a political ad in a presidential campaign.
00:07:00 The ad is cheesy, and we gather from the equally cheesy slogan.
00:07:05 Don't change horses in midstream.
00:07:09 Is a reelection campaign.
00:07:11 The ad is telling the American public don't upset the status quo.
00:07:15 Just go with the president you have because it's the best you can do and you wouldn't want to upset things.
00:07:22 We now go to the White House that has approved this ad.
00:07:26 It's after hours and in the basement, in a secret room.
00:07:30 Robert De Niro is playing a crisis manager of sorts.
00:07:34 It seems that the election is only days away and the administration has just discovered that news that the President had sex with a young girl in the Oval Office is about to break.
00:07:45 The president is in China.
00:07:47 On some sort of diplomatic.
00:07:48 Yep, and the team has been assembled to deal with the crisis before the news breaks.
00:07:54 The first thing Robert De Niro does is he tells the president's people to delay the president in China.
00:07:59 Tell the press that he's sick.
00:08:01 He also tells.
00:08:02 Them to begin spreading disinfo about some fictional B3 bomber to create a fog around the president's trip to China and.
00:08:10 Get the press talking about something unrelated to the scandal before it breaks.
00:08:14 He also tells the administration to start rumors about a crisis brewing somewhere that he has yet to figure out the details on.
00:08:21 But don't worry, he's on it knowing full well the press will predictably parrot any talking points they put out directly.
00:08:28 Or through deception.
00:08:30 Next we jump to a plane and on the plane to LA to see a Hollywood producer to help him produce this crisis that will distract the American people from the scandal in the Oval Office.
00:08:39 De Niro explains they can make a fake war because the American people.
00:08:45 They'll believe whatever they see on TV.
00:08:49 He talks about how nobody questioned.
00:08:51 The Gulf War.
00:08:52 They just went along with whatever they were told.
00:08:54 Well, now this is pretty stunning because this film was made before it was widely known that much of the Gulf War was a farce.
00:09:03 That this performance right here of a young woman claiming to be a doctor that witnessed Iraqi soldiers taking babies out of incubators and killing them was actually.
00:09:14 Big lie.
00:09:15 It was a manufactured story, literally written by a PR firm with lines delivered by the daughter of a Kuwaiti ambassador to help lie the American people into a war, something that, by the way, never led to any consequence.
00:09:30 It's also before the public knew of all the.
00:09:33 Fake footage that.
00:09:34 CNN used during the war, quote UN quote war correspondents pretending to be under attack.
00:09:39 Another thing that again no one got in trouble for you, and I know this.
00:09:43 Now, but when wag?
00:09:45 The dog was released.
00:09:46 The idea of the Gulf War.
00:09:48 Had fictional components to it.
00:09:50 At the very least, was an extremely fringe idea.
00:09:54 The audience watching this in the theater was giggling at the idea that it was all just a.
00:09:59 Play put on the public and thinking how.
00:10:02 What an imaginative premise they have when in reality.
00:10:06 It's quite possible.
00:10:08 They were rubbing it in your face.
00:10:11 There was a joke.
00:10:13 But that joke was on you. The Nero's character goes to Hollywood to talk to a Hollywood producer played by Dustin Hoffman, to convince him to help him with this deception, they need to pull on the American people to try to distract them from the sex scam.
00:10:30 De Niro demonstrates the control he has over the press office by making a call and dictating what the press secretary should say while he's live at the podium again, this film was made in 1997, well before any kind of mini Bluetooth earpieces were available. And.
00:10:49 Well, before any accusations that debate participants might be using some kind of earpiece device at the time, this technology was kind of science fictiony, or at the very least, it was for the general public. This impresses Dustin Hoffman's character, and he of course agrees to help with the.
00:11:06 Inception, the Nuro tells Dustin Hoffman that they're going to have to fake a war with Albania.
00:11:13 They choose Albania because Americans are so poorly educated by government schools.
00:11:19 Most couldn't find Alabama on a map, let alone Albania, so the American public will just think whatever the people on TV.
00:11:27 Tell them to think.
00:11:29 Right away they start talking about how to market the war, how to make money on it.
00:11:33 They bring up the.
00:11:34 Yellow Ribbon campaign from the first Gulf War.
00:11:37 And say that.
00:11:37 It was a manufactured movement that made them a lot of money selling overpriced yellow ribbons.
00:11:43 I'm not aware of anyone who's actually researched this, but I would not be shocked if there was a kernel of truth in this.
00:11:50 I hate knowing that that line in the movie.
00:11:53 Likely generated a lot of lighthearted laughter.
00:11:56 In the theater.
00:11:57 As the audience watched in 1997, an audience.
00:12:00 That was probably.
00:12:01 Giggling at how preposterous it was that.
00:12:04 Something like that would or.
00:12:05 Or even could be faked.
00:12:09 Nobody's laughing now.
00:12:10 They also decide they need a reason for the war.
00:12:13 They know Americans don't ask too many questions, so it doesn't have to be too elaborate.
00:12:19 So in this.
00:12:20 Movie that was made well before we were invading Iraq, looking for non existent weapons of mass destruction.
00:12:29 They decided to lie and claim that Albania has.
00:12:34 Weapons of mass destruction.
00:12:37 They hate us.
00:12:38 For our freedom, and they're going to try to destroy the Great Satan that is the United States.
00:12:45 Sound familiar?
00:12:47 The newly assembled team also starts working on a song they can saturate the Airways with.
00:12:53 Once the manufactured war begins, wars need theme songs.
00:12:58 Theme songs that will bring the public together after.
00:13:01 All as they put.
00:13:02 It in the film war is show business.
00:13:06 Perhaps this also sounds familiar.
00:13:12 I'm not sure I can tell you how rocking.
00:13:19 But before they can play the songs in.
00:13:20 The Airways the.
00:13:21 First thing, the team decides they need, they need footage they can link to the press, fake footage.
00:13:28 That'll pull at the.
00:13:29 Heartstrings of Americans again. This was made in 1997, decades before the public became a W.
00:13:37 There of the fake footage of the Hollywood promoted.
00:13:41 White helmets and the fake Syrian gas footage in 1997. This was all a joke.
00:13:49 They show how easily Hollywood.
00:13:50 Puts together this fake footage of the war-torn Albania with a young village woman holding a kitten.
00:13:57 They argue about what cat should they use, or maybe they should use a dog.
00:14:01 It's all just a giant.
00:14:04 Joke and it's also a.
00:14:06 Joke when Robert De Niro?
00:14:07 'S character tells the actress.
00:14:09 Who is playing the Albanian woman?
00:14:12 That if she tells anyone that she was involved in this production?
00:14:16 They will kill her.
00:14:18 The press, of course, obediently plays the fake footage on repeat to the American people, as we now know they have done over and over and over again in the past.
00:14:28 So many times we may never know the extent of their deception or the lives that have been needlessly lost because of their lies.
00:14:37 But that's OK.
00:14:38 Because in 1997.
00:14:41 This was still all just a joke.
00:14:44 Now that the American people have been thoroughly fooled, they've pulled off the deception. We're introduced to an idea that was considered completely insane in 1997.
00:14:55 We are now introduced to the deep state.
00:14:59 You see the CIA and the NSA.
00:15:01 They know there's no war in Albania.
00:15:04 And they apprehend Robert De Niro's character, and they asked him to explain himself. And once again we get more truth disguised as humor, humor that the audience will laugh off and never take seriously because to believe what is being discussed would destroy.
00:15:23 This mythical view they have of their country.
00:15:27 Robert De Niro explains to the deep state.
00:15:30 That they need this fake war just as much as.
00:15:34 The president does.
00:15:36 He tells them that.
00:15:37 If the American people feel safe and secure that the deep state will get budget cuts, he tells them that they have to put the scare into the American people so that they keep giving them money.
00:15:51 But don't worry guys, this is all.
00:15:53 Just a joke.
00:15:55 Right.
00:15:57 A short time later, the conspirators hit a bump in the road when the senator who's running against the president catches wind that the war is being faked so he goes on television and just declares that fighting has stopped and the war is now over.
00:16:11 The election is still a few days away, so they need to stretch it out a little bit longer.
00:16:16 They decide a good way to keep this going is by telling the American public that a hero soldier was left behind and is now caught behind enemy lines.
00:16:27 They want to market this with the campaign, so they choose a soldier that has.
00:16:31 The name they can mark it.
00:16:32 They pick the name Schumann.
00:16:34 Then they fake a song and they.
00:16:35 Call it good old shoe that they.
00:16:38 Plant in the National Archives.
00:16:40 And then a deep state honeypot agent convinces A reporter that she just had sex.
00:16:44 With that he needs to play this song to motivate the people.
00:16:48 And of course the.
00:16:49 Press runs with it.
00:16:51 And then as icing on the cake, they astroturf a campaign of throwing old shoes into trees.
00:16:59 The entire country is praying for Shuman to return home safely.
00:17:07 Now, right here, I want to just pause for a second and draw your attention to this shot in the movie.
00:17:13 This is Robert De.
00:17:14 Niro, Dustin Hoffman, and whatever her name is walking out of the gates at the White House.
00:17:21 That means that the White House at.
00:17:23 Bare minimum read and.
00:17:25 Approved the script and gave them access.
00:17:27 To the grounds to shoot.
00:17:28 This the rest of the White House.
00:17:30 Footage can.
00:17:31 Easily be shot somewhere.
00:17:33 In Hollywood, on a set but this.
00:17:35 Shot right here.
00:17:36 Had to be approved.
00:17:38 By the White House.
00:17:39 And when they do.
00:17:39 That they read and approve the.
00:17:41 Entire script, so just something to keep in.
00:17:44 So now that the whole country is waiting for this Shuman to be returned, they go to pick him up, only to discover that through some mix up the Shuman the military produces is a psychotic prisoner and a ******.
00:17:59 At this.
00:18:00 This is the point where the movie really takes a turn into the absurd.
00:18:05 It almost seems.
00:18:06 As if the film maker is well aware.
00:18:08 Of how much?
00:18:09 Truth they've already revealed, they need to slap on a few coats of satire for the sake of plausible deniability.
00:18:16 This is also important because up until this point.
00:18:19 In the film.
00:18:20 The audience in some ways can feel comfortable because.
00:18:24 At this point.
00:18:25 While the government is being portrayed as being totally corrupt and out of hand.
00:18:30 Morally bankrupt, nobody has been physically hurt yet as a result, and and that's all about the change.
00:18:36 So while many humans have trouble looking.
00:18:40 Down the road and and seeing the horrors and the mass casualties that corruption leads to, it's not really apparent.
00:18:49 Or at least not nearly as apparent as the danger of immediate physical injury and death.
00:18:55 Even the lowest of IQ people watching this will understand that death and murder is bad.
00:19:01 So in order for the film makers to keep telling their story, they're forced to kind of ratchet up the.
00:19:06 Absurdity of the.
00:19:07 Film so it disconnects the.
00:19:09 These people a little bit further from reality, they're intentionally lowering the audiences suspension of disbelief because they don't want the audience to really believe what they're seeing and the best way to do that is just to make everything really absurd.
00:19:26 So Schumann is taking antipsychotics and is clearly in no condition to be presented to the American public as a hero.
00:19:33 He has a.
00:19:33 Fit and that mixed with some bad weather causes them to get in a plane crash now.
00:19:39 All the important people survive without a scratch.
00:19:43 That's the ridiculous part.
00:19:45 The truth here.
00:19:46 Is that the?
00:19:46 Pilots have died and.
00:19:48 The group doesn't even care at all.
00:19:50 It's not even mentioned.
00:19:52 All that matters to them is maintaining the deception, no matter what the human cost.
00:19:58 This is further hammered in when they hitch a.
00:20:01 Ride to a payphone.
00:20:03 And the psychotic?
00:20:04 Shuman decides to rape a farmer's daughter.
00:20:07 The farmer freaks out and shoots and kills Shuman and the important people.
00:20:13 The way they react, they feel nothing.
00:20:15 Literally nothing at all for the girl that was just raped.
00:20:19 Or for that matter, Schumann, who?
00:20:21 Was just killed.
00:20:22 It's all about.
00:20:24 The deception it's all about maintaining the deception.
00:20:29 So they find a way to spin it.
00:20:30 They just say that he was in a terrible plane crash.
00:20:34 And now they put on an epic show, a show of his casket being returned home, complete with the dog they have trained to follow the casket.
00:20:43 The deception has finally been played out to its conclusion.
00:20:47 The president is now sure.
00:20:51 To win reelection now as.
00:20:52 The sheep in America just eat this up.
00:20:55 They eat at the propaganda, they're being spoon fed.
00:20:58 Their bellies are full and.
00:20:59 They are entertained.
00:21:03 And this is the climax of the film, where Dustin Hoffman's character, the Hollywood producer that helped.
00:21:09 Create this whole deception.
00:21:13 He does the unthinkable.
00:21:15 He decides he wants to take credit for the work.
00:21:19 His sin is pride.
00:21:20 He wants the world to know that it was him that was responsible for this entertainment.
00:21:27 And of course, this is where we learn that even his life.
00:21:31 Is expendable when it comes to maintaining the deception.
00:21:34 The deception has to be protected at all costs, because that is all.
00:21:41 That separates the ruling class from the slave class.
00:21:45 Information is power.
00:21:48 Or as they look at it, they.
00:21:49 Are smarter.
00:21:51 They are the tail that wags the dog.
00:21:54 And because it's this knowledge that keeps them in power.
00:21:57 It has to be.
00:21:58 Kept from.
00:21:59 The public and all costs.
00:22:02 So what we see here is both a warning to other storytellers and the ruling class that.
00:22:08 If you fail to.
00:22:09 Go along with the deception, no matter how instrumental you might think that you are.
00:22:15 Never hold yourself above the deception.
00:22:18 You are always expendable.
00:22:22 What we see here is a submission stance.
00:22:25 A submission stance by the producer and the director of this film, who likely sees himself in this character.
00:22:34 He's acknowledging that.
00:22:35 Despite the role he may have played in revealing.
00:22:39 All these obscured truths.
00:22:42 He knows how to protect the deception.
00:22:46 And he knows what will happen if he fails.
00:22:50 So is this the ruling class telegraphing?
00:22:52 To the public.
00:22:54 What they intend to do.
00:22:56 And what they.
00:22:56 Have been doing.
00:22:58 For generations?
00:22:59 Or is it all just a crazy coincidence?
00:23:02 It's hard to watch this film and not think that it's not at least somewhat possible that this was indeed the ruling class, giving the public a pique behind the curtain.
00:23:14 A lot of people forget even Saddam Hussein's information minister, who is.
00:23:18 Mocked widely in the media mentioned this film wag the dog by name during the invasion of Iraq.
00:23:25 Either way, the.
00:23:27 Truths in this.
00:23:29 Can no longer be experienced as silly punch lines.
00:23:34 They hit way too close to home.
00:23:37 They elicit an entirely different emotion.
00:23:41 And a motion that's 180 degrees out of phase.
00:23:45 With the emotion.
00:23:46 That audiences in 1997 experienced.
00:23:50 And that emotion?
00:23:54 That emotion is rage.
00:23:58 For black pillow, I'm Devin stack.
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