Enough time has passed to see where The Script is headed. Declowning & preparing for a post-collapse world at once.
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Grant Regan, Island Castle, 2022, digital art
This is an exciting moment for anyone interested in epistemology or systemic lies. The first watchable attempt at narrative change in real time with an understanding of the House of Lies. Like an an ancient astronomer getting to see the predicted comet. The Band had written a ton on the beast system, but most has had to be an objective look backwards. The Script posts are the closest thing to current events and even they were pattern reads from remembering things that happened earlier. That’s different now. And suddenly. The outline of a full-scale attempt to change the dominant House of Lies narrative is coming into view. On the general impression level.
Some point before this post was finished, the salvo of post-inauguration orders happened. A cluster of data points that answered some of our questions. More importantly, the direction was an unexpected one. Within the realm of possibility, but not the road we thought most likely. Meaning a lot of it had to be redone. Point of departure...
It's easy to visualize the relationship between the fake beast system and it's House of Lies borne on screens and other vectors.
Not long ago, the House of Lies degenerated into full-on Clown World. That's what we could be sure the Script faction is attacking. Criminality and inversion within the the overall system.
The question is how deep the conflict goes. The beast system is built on the false materialist dogmas of the post-Enlightenment West. And proven incapable of maintaining a moral sustainable socio-culture. The West was culturally healthy to the extent that social norms were based in traditional Christian and organic values. The atrocities - from apocalyptic wars to rapacious colonialism - were all products of "Enlightened" elites. Cultural degeneration took off when those elite !values seeped into the NPC base code via screens. The pattern reveals the problem. Entropy.
In a fallen world, things that are not actively maintained degenerate. Personal, moral, social, as well as physical. On the socio-cultural level, objective standards - religious and organic - are the active maintenance. Banishing those for subjective relativism because [a human self-actualization chimera that isn't actually real] guarantees decline.
It's why The Band is disinterested in historical resets. Without a change in basecode assumptions, it's just a different spot on the curve to here.
The beast system is the institutional and logistical structure of the West. The House of Lies is the operating system. The vertically integrated cloud of nonsense promulgated through every systemic organ. We separate them for analytic reasons, but the boundary is not that clear in reality. For example, Clown World globalist ideology shapes the beast system by guiding or establishing new institutions and links. How deep the conflict goes refers to how much of this symbiotic knot is under attack.
Low depth is switching some Clown World superficialities without real consequence. The most egregious beclowning is replaced with superficial civnat bromides as veneer over the House of Lies. The beast system isn't touched at all.
This is the option The Band considered most likely. Early returns indicate this was the wrong call.
Middle depth significantly guts the House of Lies by going beyond the egregiousness of the last few years. The Q narrative - a declaration of Scriptwriter intent - did emphasize things had to get especially bad to make NPC direction possible. But this could only happen if the structure was already rotted out. Striking DIE policies hits surface level Clown. Striking the AA framework that they grew out of hits the pre-Clown House of Lies that built up in the 20th century.
As a statement of intent, the opening salvo is at least here. The Band doesn't play predictor, but we move quickly when new information becomes available. Patterns in motion. So something tangible has to happen before a final conclusion. Hence intent at this point.
High Depth challenges core principles or process of the beast system to a roads-not-taken level. Replacing income tax and the IRS is a systemic level change. So is shifting from financialization to production. Encouraging Christianity Or an actual nationalist agenda. It's easy to visualize in max form in relation to Low Depth...
On the intent level, some of the salvo and other noise seems to reach here. Interesting, but something to track until we have concrete actions for data points. We can confirm the factional conflict within a fake system hypothesis beyond doubt. But the details are still forming. How reality-facing are the Scriptwriters? On appearance, more than we expected. The rest awaits more information.
Note that we don't speculate on who the "Deep State" is, where exactly on the depth chart it's found, or what the power structure is on the Clown side. Any more than we do the Scriptwriters. We assume Trump is more planner than puppet and Musk fronts a situationally allied faction, but with who and what the breakdowns are is beyond us. The Band is interested in structure and discourse -- representation - because it creates what's possible. What we can know and how we can know it.
Any system or ideology has operators. They're necessary but theoretically fungible. There's always someone who'll take a new ticket. Socio-cultural patterns come first. What's thinkable, tolerable, or inevitable. The rest is application, and others are better suited for that.
The fusillade of EOs and other activity is more than a statement of intent. On a general level, it signals a new discursive paradigm. The socio-cultural consequences could be profound. Consider the quantity of punitive suppression and control the House of Lies needed for the Clown World agenda. Any freer conversation about reality allows reality to infect the NPC base code like a recursive virus. This is more downstream and big picture, so something else to track.
On the tactical level, the approach confirms our assessment of Scriptwriter competence. The Band does not downplay our assumption that any real change would be low depth. Version 1.0 was the template, and while we recognized a number of possible outcomes, a similar lack of inertia was thought the most probable. We even commented "we'll know pretty soon", because it was obvious - whether you consider it possible or not - that any realistic effort would have to start hot and come out swinging. Not bravado, task magnitude. The House of Lies is huge and integrated with lots of defenses even without the steering wheel. Time is limited. If we didn't see simultaneous initiative across multiple interlocking fronts from the jump, we'd know they weren't serious. Conversely...
Ron Embleton, Into Battle: Agincourt -- The Impossible Victory, artwork from Look and Learn no. 63 (30 March 1963).
Blackening the sky with arrows doesn't prove they're going deep. But it they were, it's what the most strategically prudent opening would look like. The continued pressure over the last few days corroborates.
Then there's the understanding of the landscape - enemy and own assets. Basic Sun Tzu stuff. Never forget that the Scriptwriters understand CLI. They're not hapless pomposities or deceptive flatterers. The shift from Q to The Script was a shift from an information-based communication strategy to an informationless one. They, like the House of Lies, direct NPCs by emotionally triggering preprogrammed base code responses. It's one reason why we were inclined to overstate their similarity. They use similar approaches in the same ecosystem, but to different ends.
Any denial of how different this opening is from 1.0 is confessing a fruit-fly tier memory. [Clown-barnacled slow-walker] to [decisive strategic preparedness]. The way the House of Lies counters threats does take a little time. Not too much - screen control and FTS-2 preprogramming can work like magic. But informationless-communication is imprecise. Readers can follow instruction and switch on a dime. Pulsing the NPCs is different. It needs a some repetition on a steady target to generate movement. The salvo presents too many targets. Like a drone swarm, or being attacked by a wasps nest.
Clarify. As a system, the House of Lies has an internal OODA loop. What it can do reactively based on the structure just mentioned. It needs to identify the threat before acting via screen. 200 hot button orders + napalming the presidency of the Six Seniles in one day is beyond overload. It's like trying to parry a shotgun blast with a penny. Obviously there will be challenges and issues. At this early stage, it's speed and scale that matter.
The negative looks unlikely. The salvo is a show and initiative will slowly dissipate into the swamp of business as usual. Not impossible, but not a much argument either. The Band looks for patterns over time - it's why we blather about memory so much. We've already seen that face plant. 2017 started with a disappointing lack of direction that never really let up. The insurgent team was quietly neutralized as Trump was immersed in clowns. Now do the comparison.
The decisiveness is opposite 1.0 insta-fizzling into drama and Reince. Blowing out the OODA loop with a blast of complete clown cancellation can't be more different. Everything we've tracked about The Script so far has shown impressive consistent competence. This opening is exactly what operators of that caliber would do next if they were going to come hard. Ride with the pattern until it fails. And it's not just the orders. The team is also acting in a way consistent with a deep conflict. A serious offensive would also have lieutenants in place from the jump to carry the new narrative into the pillars of the beast. Exactly what didn't happen last time when 1.0's orders were often ignored. It's striking how many people are pushing forward already.
Take someone like Rubio laying down the law at State. During the pre-inauguration period some associates were speculating on the Script direction. One suggested concerns about ideology or past positions were overstated because rhe names weren’t chosen for policy reasons. They're officers leading sub-campaigns. Meaning their fitness is based on mission efficacy not planning. That read appears correct. Rubio is a ticket-taker and swamp creature. But it's a mistake to assume that's his choice. A big truther mistake is recognizing the puppeteering and crediting the puppets with the puppeteer's ideology.
The Scriptwriters have the wheel. Rubio dances for them now. Presumably he's proven the ability to do what he's told. It's probably his personal preference, though that ultimately doesn't matter or he wouldn't have taken his ticket. The point is his moral and ideological weaknesses are irrelevant in this context. What matters is that he will take whatever moral and ideological direction his masters want and make it happen. So he will independently advance the Script in his area without needing supervision.
Others seem more personally driven. High SSH guys like Sigma Homan or Alpha Kennedy trading overall subordination for autonomy to pursue their thing in their area. Also independently advancing the Script without needing supervision. Even the in-terms are moving - note the recent dismissal of the absurd Coast Guard commander. Just a sliver, but note also the stream of firings and resignations unfolding in the background.
The salvo itself is sign of a focused team of independent actors. That many well-researched and prepared orders with important specifics took a lot of time and effort. Hence the total difference on every strategic and personnel level from last time. And it continues. [Pre-announcing the classes that won't be considered for positions to acting secretaries to canning Coast Guard admirals] is the anti-Reince-Kelly continuum.
Information control is another competence 180. There's no sign of the NYT sit-downs, swamp creature infestation, or constant leaks. The scope of the orders came as a surprise and operations are opaque. There were some mentions of lots of orders coming and promises to hit the ground running. But nothing at our level of attentiveness that tipped the hand. Consider the nonsense drama around 1.0. Omarosa?
Our assumption was that the tamer, more globalist adjacent campaign and pre-inauguration Trump was concession to the House of Lies. The H1B thing seemed more indicative of globalist-lite. It looks now like this was wrong. Vivek is gone. And if the opening salvo is indicative of the real direction, the apparent compliance was misdirection.
It is important never to forget that the Scriptwriters observably understand CLI. The ultimate proof is the palpable change in the zeitgeist. Nothing has happened yet, but the NPC emotional base has dramatically shifted. It's also clear that votes mattered to them. Avoiding the old triggers undercut the ability of the screens to lather up the NPCs. Having tepid preference at best from the dissident right lowered the intensity as well. The pulsing was mostly limited to spent old tropes like Orange Hitler. Nothing to counter the inexorable Script beats.
Pre-confirmation social media silence from the nominees confirms this read. Without any content for the nonsense mill, the media pillar of the House of Lies lacks the material for NPC pulsing.
The last sign of learning is more of a reach. One thing Clown World was effective at was leveraging mass dissatisfactions for emotional buy-in. Playing on grievances. The US mainstream has been sufficiently battered and demonized to feel beseiged and put upon. If some sense of NPC self-interest can be directed, there's a deep well of emotional energy. The language in the orders presents the targets as threatening, aggressive, or abnormal. Efforts to play on or fire up the downtrodden would show that they get it.
As much as can be seen, The Script continues to roll along. The big, defined agenda shows a total change from 1.0 and campaign Trump. We had noted a discrepency between the Q narrative and the more globalist signaling which seems to be breaking towards the former.. This doesn't make them good guys. Keep building anti-fragility, because the techno-utopians point towards some of the same systemic choices as the clowns. But in the short term, they are vastly preferable for anyone favoring reality.
That's all we can say about direction for now. There'll be another check-in when there's more data. What can be commented on is narrative change. Regardless of depth of split, the Script is introducing a very different frame than the House of Lies. Some of the outlines and processes are visible. Including an interesting opposition between real and fake countercultures. And that's indicative of the most volitile aspect of the whole thing...
How does one attempt an in-system, fake reality change in a collapsing system?
The Band's take on the collapsing Macro-Arc is not ambiguous. We've perceived a systemic terminus in the 2030s for several decades now. Clown World metastasized while the House of Lies had near-total narrative control. A period from the three-channel universe of boomervision to the recent social media panopticon. But always keeping the NPCs in a self-contained, self-reinforcing delusion bubble. The collapse can take many forms, but all include the end of that fake reality. The Script is trying to bring in a post-collapse order by changing the narrative content - the base code - while the systemic form is entering maximum instability.
It's obvious that the Scriptwriter priorities are domestic. Note how the big issues are reactions to in-system House of Lies inversion. But the reality of systemic collapse makes domestic issues unavoidable. The clowns were ensconsed in DC, but their agenda is global. One world under Babel. Only the tower is collapsing under a mountain of Russian armaments, economic decline, mass migration, and debt.
The landscape…
The beast makes hay out of out of pretending things are the same as they always were while changing them totally. FTS-2 base code imagines foreign and domestic as two distinct areas of interest with some overlap. Good rulership may prioritize one or the other, but is attentive to the interests of each.
The Band assumes the Scriptwriters would prefer to prioritize the domestic in this configuration. The problem is that things aren't like this.
The current reality is Clown World. Foreign and domestic are parts of a global control network outside but including national governments. The US is part of it and one of the ruling centers. Occupied by clowns in the service of clowns.
Friction is inevitable because nationalist and globalist interests are incompatible.
It's more relevant to think domestic and globalist at once.
Readers know the Band is aware of the metaphysical aspects of world affairs. Clown World, the House of Lies, and all the rest of beast system history are material manifestations of an impulse to resist God - or Truth or Reality - as old as Creation. Nothing new here - many others have commented on the Empire that Never Ends as this recurring phenomenon. The pattern is that every so often sorathic or satanic impulse is ascendant with horrible consequences. The word Empire is fitting because it implies aggression - conquest, assimilation, and/or enslavement. And anti-life is aggressive by nature in its endless thirst for victims. What's different from Carthage or Teotihuacán is the nature of "empire".
Clown World literally is a post-modern empire because conquest and control don’t depend on military overrun. There are plenty of bases - the US has been the enforcement arm - but rule starts with diplomacy, not armies rolling over the border.
Stop Communism, Department of State Bureau of Public Affairs, International Information and Educational Exchange Program (1949 - 1952) poster, 1951, National Archives at College Park
World War II gets a lot of alt-history credit for laying the foundations, but we've come to see the Cold War as equally important. Together, cataclysmic conflict and the threat Communism were catalysts and incentives for trans-national bodies of all sorts. From the Western perspective, belonging to the bloc meant freedom and safety. Relatively speaking of course, but post-war American life was pretty unconstrained.
Now filter this through how most people approach the world + the sudden appearance of mass fake screen-based monoculture...
Screens direct FTS-2 with emotional pulses that resonate with beliefs in the unconscious base code. The base code is made up of assumptions about reality imprinted over time. We know they aren't moved by real self-preservation, but the survival reflex does kick in when the screen tells them something is dangerous. The Cold War was an apex carrot-stick mass conditioning moment. Start with the most centralized, homogemized infotainment control in the screen era. Add a monolithic militarized enemy in a totally oppositional frame where individual contacts were minimal. Plus the constant threat of MAD at any moment. Blocs, trans-national agreements, and American military and economic leadership weren't just "economics". They were existential necessities. And nothing burns acceptance into the socio-cultural base code than belief its life or death.
Is This Tomorrow, Canadian edition of an American anti-Communism propaganda comic, Catechetical Guild, 1947
But the process doesn't stop there. The House of Lies base code is also morally relativistic. The default moral assumptions were culturally Christian at first, but the formal ideology is postmodern. Do what thou wilt. And without onjective moral standards, morality becomes whatever is desirable. It's not surprising that a perceived existential struggle on the material socio-cultural level gets cast in moral terms. Pedowood shaped the US base code by casting conflict is simplistic black and white. Geopolitics become good vs. evil as the Hitler dictator archetype melds into faceless Soviet bureaucratic totalitarianism.
This is when word spells like Freedom, Democracy, etc. are installed. The Cold War narrative coalesced around a reductive Freedom/Totalitarianism binary. And geopolitical complexities became Revolutionary mythology X.0. Seriously. We posted on the Freedom spell a while ago and nothing since has changed anything. Note how every conflict, from the War of Independence to the War of Northern Aggression, to the World Wars, Cold War, and every Clown conflict since is a fight for freedom. Or democracy - the equally vacuous synonym.
Ironically, fear over existential freedom led directly to the centralized super-national networks that became the House of Lies. Voluntary submission to imperial conquest without even realizing. A new kind of Empire that didn't look like the old territorial invasion version. Either colonial like England or conquest like the Nazis. But it incorporated both - subverting the post-colonial order and imposing direct controls. NATO is a great example. Ostensibly a mutual defense pact against the Soviet threat, but somehow still around and in control of European militaries. Unnoticed, because the theater had changed.
All imperialism is based on perceived advantage. It's an ironic reality that all empires collapse under their own ambitions, but that's long term and most CLI. The basic premise is that conquest brings benefits that the status quo does not. In most cases, this is resources.
Spyridon Romas, The East Offering its Riches to Britannia, 1778, oil on canvas, British Library, London
Direct wealth like land or gold - holders of value in all ancient cultures. Or necessities like food and metals. Empire benefits the elites far more than the hoi polloi because the wealth concentrates in the center. But constant expansion can create opportunity for everyone.
Clown World is the first postmodern empire. Meaning the first built on financialized globalism and centralized information control. It doesn't need to control territorial masses directly because power comes from control over a global reserve currency system. The advantage is mathematical - a Material / Abstract Reality discrepancy. Wealth generation in any production-based system is limited by material factors. Industrial capacity, workforce quality, resource availability, distribution chains, etc. All things traditional imperialism looked to bolster. But in a financialized system, wealth generation is algorithmic, and without comparable limits. Clown world is debt based - the only cap on wealth is the amount of possible borrowing. The entire attitude towards territory is different.
AnnArtshock, Angry Earth in face mask, 2021
First, the scope is global because it's super-national. An overlay. There's no need to conquer territory because they all signed up. Sometimes some uppity pipsqueak needs to be slapped around as an example, but that's not the same. If resources are needed, they're purchased with financial power. Through agreements with private and public interests, backed by a full bag of dirty tricks. Labor can be arbitraged wherever it's cheapest.
An abstract overlay has no commitment to national governments. They're simply part of the administrative structure to be dealt with through imposed procedures. Financial and media power ensures satraps comply or are replaced.
From a domestic perspective, "America" exists as a fiat production and media hub and enforcement arm. A lot of Clown administration is here, but as part of a global network. Not American by any definition, civic or otherwise. It's a complex position - a leader and a servant - and FTS-2 really struggles with complexities. And the advantages come with weaknesses.
The sneaky overlay means Empire coexists with countries. Many people don't even realize, let alone accept they're under imperial control. This creates vulnerability externally as well as internally. And these include different weak points. We suspect this complex structure is why it's not widely understood. The blind men and the elephant scenario. The advantage to breaking it down on the simplest level makes the outlines clearer.
Externally, pressure is coming on traditional military and modern economic fronts. Russia and China are two coexisting countries opposed to Clown globalism with the power to resist directly. Both flirted with the beast at different times before ending up opposite. The Band often describes Clown World as the corner of evil and stupid, and the second is in full effect here. The entire globalist Empire is based on global overlay. Dispersing debt and shunting resources and production wherever needed. Abruptly terminating that global network cuts off essential parts of the system. It's structurally suicidal. Stupid.
Anyhow, militarily, the Empire has been soundly beaten in Ukraine. We noted from the outset that the response to Ukraine was way out of whack with it's apparent importance, but had no idea why. We still don't, although it's value to the Clowns is now more than obvious. Meaning losing there had existential consequences. It's also more than obvious that Taiwan remains "independent" at China's forbearance.
The myth of irresistible power is gone. And with it, a lot of imperial coercion.
Economically, the exploding cigar sanctions are well known. Likewise all the socio-cultural degeneration in the West. Movement away from the petro-dollar and development of alternative payment mechanisms accelerate the pressure. The Band is convinced that the Scriptwriters perceive the same inevitable systemic collapse we do and are trying to prepare for what's next. Machinations in crypto are beyond us at the moment, but are consistent with thinking about an entirely new system. Pointing to acceptance and post-collapse orientation.
Externally, the House of Lies is into the collapse stage on all fronts. This stage of Empire is already over...
Internally, The Script is simultaneously attacking the domestic Clowns. This is the nationalist-globalist conflict that the Band has called geopolitically fundamental. Insofar as it manifests the larger metaphysical polarity. We reject the Scriptwriter's materialist ideology, but any nationalism is definitionally anti-Clown. Incoherent or not. And this has an unavoidable foreign component because the Clowns are also based in Europe. So a lot of the domestic salvo also triggers the Euro-Clowns.
It’s worth noting that Tom Luongo has been charting a conflict between American and Euro-globalist finance. Wall St. vs. Davos. We don't really focus on economics, but pay attention to him for the structural insight. Consider the centrality of finance to global power. Conflict between US and Euro factions within this framework looks isomorphic to the Script. Just widened from finance to socio-cultural Macro-Arc level. Decoupling from Empire without catastrophic upheaval.
The contours. Polarization of Empire isn't just coming, it's rolling in.
The old centralized overlay is over, and the clown social ideology with it. Declowning strengthens the domestic polity and manages polarization at the same time. An attempt at internal restoration that also responds to unstoppable external systemic failure.
Domestic opposition to clown agenda can't be separated to global context. So the big, defined agenda points to a generally autarkic direction. The logic. Given that the future will be more regional and the Scriptwriters are savvy, preparing for this is necessary. Exorcising the Clowns is necessary for any attempt to turn the domestic ship around. And it's their globalist ideology that is the collapsing system losing to multi-polarity. So the domestic and the international are interrelated. Decoupling from the collapsing ship.
Geopolitical polarization and geographical polarization are two facets of the same autarkic reality.
The Band's question is if this is possible. Nor being cynical. At this point, there's nothing to do but wait and see.
The strong America narrative in the Script fits this scenario like a glove. Anti-Clown is autarkic-domestic and reality facing at the same time. Attacking sorathic evil and bracing for systemic collapse at once.
So how to do a narrative shift - in a collapsing system or not. What this means is changing the FTS-2 base code in a way that the new "reality" is simply accepted. The Q claim that things had to get really bad gives some indication. If the NPCs are discomfited for reasons they can't understand, they're more likely to take to something that feels comforting. And Clown World reached a stage where even the diest hards can be pulsed. Like inner-city blacks backing ICE. It's not clear yet, but there's enough prelininary data for come rough outlines.
John Atkinson Grimshaw, Lovers in a Wood, 1873, oil on card
Narrative change was always inevitable if the Script team took control. But knowing something has to come is totally different from getting to see how it plays out.
Readers know that the Band doesn't make predictions and considers politics part of the House of Lies show. But it does make observations and draw logical conclusions about being in the world with future implications. And the House of Lies directly effects all of us environmentally. Having an idea of where it's going is helpful for obvious reasons. It's guided Band planning IRL for decades.
This has to be general because the details are murky. The House of Lies is societal scale web of institutional networks taken for reality. Countless people work in it with different personal aims, many deeply committed to the narrative. Control is direct and indirect at the same time - puppeteering and narrative-huffer inertia working together. Interfactional conflict = different levels of control and resistance in different areas. All we can see is what is shown, so stick to the foundational narrative engineering level. So three main areas. The role of screens, the autarkic direction of declowning, and creating fake counterculture.
Screens are the lifeblood of the House of Lies. The vector for narrative creation and information control. It's why Mockingbird and the like are as old as the screens themselves. The ascendant beast system and rise of the screens are symbiotic. Until recently, Clown World had acquired a pretty tight grip on the mainstream platforms. For their part, the Scriptwriters were able to counterprogram through the vast reach of Twitter. Now Facebook appears to be dropping most of it's clown censorship bringing the Script further into NPC reality.
Screens run two ways. They're reactive in that they transmit what House of Lies narrative engineers want. They're not reactive in the sense of responding to organic interest or desire. Even things that "go viral" can't be suppressed by the algorithms.
A common misconception is that the screens respond to popular desire. They don't. They create it. Why they're so terrible for FTS-1
When it comes to the narrative-huffing public, screens are proactive. With processes and directions that shape thought by determining what the public discourse looks like.
As with any tool, screens as a collective entity have form and content. The content is the messaging in all its different types and formats. The form is the overall shape of screen world. It's discursive parameters. What is the prevailing tone? What content themes are promoted, ignored, suppressed, or cancelled? What sponsors are promoted?
The screens are endless and platforms come and go. But there are constraints and contours of the narrative they push at any time. General things on the social engineering assumption level beyond specific story content.
We're all familiar with the boundaries that can't be mentioned. Some of those are shifting right now. Some aren't.
If the screen ecosystem sets the limits on what can be said, the limits will run ahead of where the FTS-2 masses are at that moment. It has to. It's the walled sandbox they're allowed to explore and most never hit the fence. Note how much cancelation had to happen before most even noticed. While doing nothing in response if they did, but that isn't the point. It's that the majority are well inside what is permitted and don't care about the fences. What matters is maintaining the reservation and gradually massaging the herd in the preferred direction.
The Scriptwriters' parameters appear to work the same way, only with different permissions. Content limits are much more permissive, although individuals and topics that are forbidden. The exact outlines are still forming. Note the flurry of Twitter-bannings over H1B criticism, followed by their reversal and Vivek's exit. Things are in flux, so for now, it's enough to note that parameters do exist and track them going forward. What we can see is a preview of what the Scriptwriters consider acceptable. And by extension, a glimpse of their ideological framing.
We can see how important screen vectors are to the House of Lies by the cloud person wealth and international fame and access given to the ticket-takers fronting them.
There's no room for dissention on what the current boundaries are. Zuckerberg may be image polishing recently, but stories of being threatened into submission check out.
Facebook's reasons for playing ball less important that what it is actually doing. The question isn't whether or not it's on the side of reality. It's a House of Lies vector for pulsing NPCs. It's not. If it's recalibrating the permitted discursive limits, it's because the engineers setting them are changing course. And in a polarizing world, getting onside with the autarks isn't a bad idea.
It's important to remember that ticket takers are also people with their own preferences. It's possible the sorathic demons clown apparatchiks were enough to frighten and disgust even a hollow man.
Zuckerberg seems less grandiose than Musk. More content to run his company, hang with his family, and do martial arts. He wouldn't ever buck the system because he's a ticket taker. Like Rubio, his identity is pure system. But he will have preferences. It wouldn't surprise us if the Scriptwriters are more pleasant masters than the demonic Clowns.
A few screen tactics appear over and over. The Band has been critical of claims that media distractions mattered. Probably on the record, but not sure. The assumption was rational if we assume active cognition - information processing and functioning memory. It's easy for readers to see. How many of you would consider ignoring fundamental interests and values because a contrived event was shown on a screen. It's so retarded that it's irritating to have to waste time on. But that was before understanding CLI and informationless communication.
FTS-2 isn't conscious of fundamental interests. Just a vague base code with a nearly limitless tolerance for cognitive dissonance.
Distractions are personally meaningless but emotionally charged. The first doesn't matter because CLI. The second dominates the RAM to the level of the emotional impact, filling conscious awareness - and the ability to act or decide - with irrelevance. Fruit fly tier memories preclude any form of contextualizing. With the available bandwidth tied up, there only the feels in the now. Inconvenient truths can't even take hold. Forget changing assumptions.
Distraction does work on on the FTS-2 masses by exploiting the process. No access to memory or processing means activities are limited to conscious awareness at the moment. Like a RAM. Only with directed by emotional impulses from the screen.
Misdirection binaries are a subset of distraction. These are when a narrative is simplified for NPC consumption to the point of error. It plays into a natural tendency towards “us and them” shaped by generations of Pedowood distortion. The result is good guy/bad guy as reflex assumption.
Media is rightfully pilloried for it's perverse and dishonest content. But the more general world view it creates may be more destructive, because it blocks the ability to process anything.
What is really happening is a factional conflict within a hugely complex fake ecosystem. Two hat colors guarentees not clearly understanding. It’s how the idea of [luciferian globalist who hates wokeness as an ideology] becomes mystifying.
Another ubiquitous tactic is only ever speculating on what's going to happen. It was a mainstay of the strongly-worded opinion piece of the analog era and it dominates online chatter. [Aside. Note the variety of online discussion venues. Big funded websites to independent media to blogs to comment pages to social and so on. And note how much uses Twitter links and content.] You see it with essayists, 🎇🚨🚨 BOOM!!! 🚨🚨🎇 posters, and trolls alike. Some in the narrative moment thing - that all the fruit flies are conscious of - means the following chain of events must occur. What's even dumber is the engagement that can follow. Clouds of self-pwning Nostradamii arguing over the reductive soothsaying. And intrinsically distracting for the same reason as wondering why. The answer is ultimately unknowable and the mental effort impotent to affect it.
Harry White, The Charlatan, 20th century, oil on panel, Usher Gallery, Lincoln, UK
We're familiar with endless predictors. Apparently everyone who took the genetic serum was supposed to die of AIDS last fall according to one grifter. That reset from an earlier fake date. The sort of nonsense that clouds the waters for people trying to call attention to the very real damage the !vax has done. But send cash. Conservative voices are on the line.
Not everyone is that sensationalistic. But Team [This is what's going to Happen] is vast as the ocean. Then consider two things that aren't so familiar - a) analysis of past events leading to the present thing and b) following up past predictions to see how they fared. And why if they were off. Because that requires actually processing a big picture and not parroting other screens and pretending the ideas are your own.
Prediction is a mug’s game. I’ve gotten some big ones right, but the key word is big. Reading sweeping patterns for general probabilities. Like [someone observably lying can't be trusted with your life]. Calling specifics are different. Seeing systemic collapse coming didn’t come with any hint of how. Details are circumstantial and things play out in circuitous ways. Which is the point. Any prediction is arguable, making them perfect bat for endless pointless arguments. And since most predictions are the predictor’s ideological preference, argument is pretty much guaranteed. With nothing ultimately gained but clicks and lost time.
The only way to understand events is to observe what happens then analyze against past events to find patterns. Then test the patterns to see if they do predict what follows. Taking the time to aggressively determine what really occurred and what the rational, full-spectrum implications are. Exactly what the mainstream screens never even try to do. High emotional engagement, but never any follow-up or resolution. But examining what was thought in relation to what happened is the only way to understand where and when we are wrong. Which is the only path to better decisions. Exactly what the beast doesn’t want. Logical clarifying questions are never even presented. To the NPCs, they may not exist. Things like why is malfeasance never punished? Or who is the shorter, barrel-shaped man sometimes presented as Trump?
Any "source" that offers vapid "prediction" ignores the full, causal, cumulative nature of reality is useless. If not overtly deceptive.
That starts with actually paying attention to that reality. An easy tip to boost discernmment.
Taking over as new beast system means filling the House of Lies role of ersatz reality. Creating dancing light shows for the huffers to take for socio-culture and use in place of thought. The structural challenge comes from the fakeness. No matter how gripping, at some point it becomes obvious that the fake reality is existentially meaningless. It occupies emotional attention with superficials .Not the things that fulfill and ontologically whole human. It gets boring. Hence the long periods of endless stylistic change that never goes anywhere.
Stan Lee, Jack Kirby and Joe Sinnott, Fantastic Four Annual #6, Marvel Comics, November, 1968
It's like "Marvel time". Once it was obvious that Marvel was going to be around for a while, their old real time formula was a problem. From a business perspective, characters able to sell decades of serialized stories are gold. But monthly issues IRT meant those characters age out long before their market potential is tapped. The birth of Franklin was a logical step in the Fantastic Four's realistic maturation but it put a clock on everyone. The solution was illusory time, always current reality but never substantively changing.
Then sometimes the system really does want a change. The modern examples are all terrible because they're milestones on the slide to Clown World. But the pattern is instrumental - neutral like any tool. The way the narrative makes a radical shift is via counterculture.
As noted, the new narrative is generally autarkic. What this means isn't a specific political structure. It's removal of globalist Empire ties while the world is moving in a polarized direction. It's not "nationalist" but civnat in that it sees "nation" as paperwork. Only competence-based paperwork given the pressing need to strengthen the home base. Essentially a techno-utopian secular materialism accommodated to recgional resources and constraints. Some of this is very positive. Some less so.
Full disclosure - we have considered a fortress North America the logical play since before the internet. Now that the Clowns' global dream has been crushed, it’s no longer a choice. Polarization is coming. And with navies a hypersonic away from the bottom, the sea power is hopelessly overmatched by the economic power and resources of Eurasia.
Better shore up the homestead before winters hits. Unfortunately the position is nowhere near as advantageous as in the 90s.
CLI + demotivation = waiting for the engine to fuse before adding oil.
In any case, retrenchment is coming. Loss of Eurasian manufacturing and energy is paradigm shifting. The Band assumes the Scriptwriters will try to jumpstart those sectors and reorient their autarkic bloc onto a production foundation. We're on the record as doubting this is possible, but our opinion is irrelevant to interpreting the signs. And that has to be the strategic direction given the signaling and geopolitical situation. Moves favoring industrialization and resource production confirm this.
Without access to infinite debt or world markets the Clown World Empire can't exist. That's the inevitable systemic collapse and polarization. What this means is that the American bloc has to be a lot more self-sufficient. This is apparent in the new focus on domestic considerations. Quality of labor force is tied up in quality of education and quality of health and family. The populace is no longer a mix of obstacles and debt tokens. Competence has suddenly become imperative. Consider Kennedy in HHS. He gets attention for vaccines and big pharma, but his overall thing is mass wellness. Exactly what the new world will demand.
Likewise signaling on immigration.
Beast media plays it's usual role, but the discourse on the socials is a different set of emotional pulses. Terrible attacks, rape gangs, the H1B + affordability explosion, shadiness malfeasance around LA fires - all things that hit major emotional beats. Ghastly violence, loss of home and and laser focus on the root causes.
The H1B program is a corrupt sludge pile, but a pro-legal, anti-migrant policy is also consistent with a technocrats view of labor force quality. It’s a mammoth shift in the entire identity of the House of Lies.
This is a major shift. The whole endless fungibility of human masses was implicit in Enlightenment equalism. Although it took Clown World to usher in the berserk wholesale importation and warehousing of foreign dregs. For reasons never discussed. There are more nefarious agendas too, but the economic one has to do with wealth creation as debt issuance. It’s the new debit card that matters, not the holder. But this assumes the ability to dissolve endless debt. That position is into the process of ending. And without the globalist financial system, useless violent hordes go from net assets to net liabilities. A globally limited, production-based system has to account for them. The financial and social costs directly affect its efficacy.
Incidentally for the metaphysically inclined, replacing equalism with technocracy moves from entropy to hierarchy. Or Sorathic to Ahrimanic. The hats aren’t white.
Decoupling from Europe is also autarkic as well as anti-clown.
Any narrative will generate resistance simply due to human contrariness. Clown World holdovers can't be helped, but new opponents can be managed through orchestrated counterculture. This is something we've posted on before, but haven't been able to watch IRT.
Real countercultures are organic grassroots movements that coalesce around some alternative to a dominant cultural position. But in the beast system, nothing is organic. Fake countercultures are seeded and produced out of elements of the fake culture. It isn’t hard – as noted, beast narratives are simplistic, reductive, and increasingly obviously without any actual popular investment. Isolating the cringier or more offputting aspects of the fake culture provides the material for the fake counterculture. Friskier NPCs are fluffed into feelings of grandiosity by having liars stamp ["edgy cool"] on the packaging of their boxes of mass media lies. No actual substance, but the stale fake culture doesn't have any either. The switchout is easy [note that none of this is necessary if people are allowed to live organically. But a massive, fake, manipulative, retard-compliant knot of lies has no other way to move along].
The old Spirit of History's fake dialectic does work for the contrived binaries of a fake system. Where it doesn't have to account for the complexities of reality.
In the beast system, fake countercultures spin off fake cultures oppositionally. Short term outlets and novelty that generate NPC emotional engagement and in the long term, move society in the preferred direction.
The beast system counters the problem of repetitive disinterest with emotional manipulation. FTS-2s take the unreal House of Lies narrative as reality. They're invested in it in their emotionalized, impotent way. If plot shifts are framed antagonistically, the huffers will choose up sides and act as if this is an existential conflict. It's a cycle, where the march of fake cultures is pulled along by fake countercultures.
The Band has posted on the avant-garde → counterculture → culture change a few times. The rise of “modern art” around the turn of the 20th century, and “Tavistock presents the 60s” show similar patterns. Start with the need for non-mainstream heroes and venues. The avant-garde had a network of galleries, critics and limitless globalist funding to create "movements" like Cubism, Dada, and Surrealism. The 60s had the exploding music and fashion industries as incubators for an endless string of celebrities and scenes. The first was more of a field test, the second an integral part of whatever dark magic reduced the boomers to vacuous mimics.
Consider all the noise made about the likes of Rogan or Carleson’s numbers destroying legacy media. How the “new media” dismantled the clowns. Everything from the Putin interview to Elon’s ubiquity presented new characters to replace for clown caricatures.
The content seems much better. But the structure is very much the same.
The Band has referred to the disparate reality-facing movement that grew up in the wake of Clown World as a new counterculture for a while. Only a real one, made hard and resourceful by persecution. All the values we push here fit in - anti-fragility, commitment to the truth, objective morality, organic community, etc. Not that it's homogeneous - organic reactions to a dominant paradigm never are. The "culture" is identifiable in the larger set of values.
As Clown World intensified, the cancellations increased, and the dissident ranks swelled. Some were previously inoffensive types ill fitted to ever-changing new normal. And some were beast-lite - former controlled opposition and gatekeepers caught up in the woke zeal. Their NPCs are dumber even than ours. They think Jordan Peterson is a dangerous dissident... The point is that by now, there was a huge pool of beast compliant ball players with NPC outlaw cred. Exactly what is needed for a fake counterculture. Only with one catch. The real, organic counterculture is still here and growing.
In the rush back to "free speech" Twittter, consider the people not allowed back on. Popular dissident voiced that are completely ignored in the new media.
The fake counterculture moves in reactive lockstep to the screen narrative. The real counterculture is treated as if it doesn't exist.
New centralized screens and characters change the Overton window. The biggest impact of the salvo is the change in discourse. It's officially possible to talk about a lot of problems facing the US today. And as verboten ideas become speakable cancelees start getting mentioned. To see the boundary between real and fake, note who does and doesn't get named. Always someone reacting to or opining in intra-system issues. Never anyone promoting self-reliance, personal responsibility, Biblical Christianity, logical empiricism, or any awareness of systemic fakeness. Plan accordingly.
The existence of a real counterculture complicates things, but the controlled process isn't hard to understand. We've brought over some old photos from the 60s post that capture the template. Start with the fake screen narrative in lieu of reality. We called it the Glamour because it is like a mass spell in its effect. This was before we recognized CLI.
Mass-culture replaces reality as lived experience of the world with whatever illusion the screens transmit.
Fake reality building through screen began as a monoculture. That was the point - mass mediated homogeneity. But with popularity as the sole real virtue. No coherent morality, real history, any logic at all, or meaningful achievement.
Fun, but staleness awaits.
The monoculture splits within the illusion while maintaining the illusion. The brutal irony of prepackaged "rebellion", identifiable with military precision by costume, music, and other markers.
The monoculture splits within the illusion while maintaining the illusion. The brutal irony of prepackaged "rebellion", identifiable with military precision by costume, music, and other markers.
TV is now "mainstream" or "establishment" reality. Other mass centralized media - fashion, theater, fine arts, and especially music - invert, attack, and ridicule the fake establishment.
It's symbiotic because it's all the same fake glamour illusion.
Mainstream gives counterculture a target to seem edgy and exciting.
Counterculture lets mainstream milk "conservative" outrage
Meanwhile, edgy and exciting casts the conservatives as backdated losers .
Establishment media normalizes the now-familiar counterculture !values by working them into the fake reality in a "family-friendly" way.
Obviously this example is based on the infotainment ecosystem and screen control of the time. The capacity for any organic counterculture didn't really exist. And analog tech imposes different patterns on dissemination and communication. What is consistent is the contrived avant-garde/mainstream relationship. The leading edge breaks "new ground" and pulls the establishment along. In the past, that's pretending to fight for "freedom" and "progress" while engaging in cultural atavism. The Band can remember idiot boomers explaining that these process defined how the world actually works. Beatlemania and the Summer of Love being totally spontaneous youth reactions to something the organically created among themselves. We literally can't even.
Put it together and it looks like this:
Seen like that, it really doesn’t bode well for the woke guard. Curious to see how it works running anti-atavism. Especially in the presence of systemic collapse, chaotic transition, and a reality-facing alternative outside the beast.
The real counterculture abominates the entire House of Lies and ignores it for virtue, beauty, truth, and personal responsibility. Decisions taken with intergenerational and communal considerations. Foregoing acquisitionism for family and sociability. At all levels. The Band is involved in sustainability legacy projects. But we also actively engage in and support knowledge preservation. Consider something like Castalia Library, reviving lost arts of fine bookbinding with a steady stream of gorgeous, rugged, affordable volumes. No beast involvement and no debt.
Be attentive to what is going on and exploit opportunities as they come up. But don't lose sight of what's really real. No matter what the screens say.
