Speaker 1: You know, I was sitting up late last night just
scrolling as you do.
Speaker 2: The doom scroll, a modern ritual.
Speaker 1: Totally, and I stumble across this piece of old folklore.
It's something you see in movies all the time, but
I guess I never really stop to think about the
actual mechanics of it. You know, the vampire rule.
Speaker 2: The vampire rule. Okay, so are we're talking about like
the not being able to go out in the sun
or the garlic thing.
Speaker 1: No, no, not that stuff. I'm talking about the really
old one, the original rule, the one that says, a vampire,
no matter how powerful it is, right, it can't come
into your house unless you invite.
Speaker 2: It in Ah, yes, the threshold. It's all about permission,
consent really exactly.
Speaker 1: It's about consent, this idea that evil, like pure evil,
can't just force its way into your home, into your sanctuary.
It needs you to open the door.
Speaker 2: You have to effectively say yes. You have to participate
in your own well, your own downfall.
Speaker 1: I guess you have to participate. Hold on to that
thought because the source material we're digging into today it
takes that exact idea. That piece of Gothic horror folklore,
and it applies it to well to our reality.
Speaker 2: And it's a huge leap, right, going from Dracula to
the global elead.
Speaker 1: It's a massive lead. We're talking about this just mind
bending conversation from the Joe Rogan experience he had the
filmmaker Roger Avery on and.
Speaker 2: What Avery suggests is hmm, it's chilling. He basically posits
this theory that there's a what he calls a Luciferian elite, right,
and that they operate on this very same principle, this
vampire rule, like.
Speaker 1: They're bound by some kind of cosmic.
Speaker 2: Law, a rule book exactly, a rule book that says
they can't just do the things they do, the manipulation,
the crimes, all of it.
Speaker 1: All the stuff we're going to get into, the really
dark stuff.
Speaker 2: They can't do any of it unless they tell us about.
Speaker 1: It first, unless they get our permission.
Speaker 2: But it's how they get that permission that's the twist.
It's not like they hold a press conference and say, hey,
we're planning to do these terrible things. Is everyone cool
with that?
Speaker 1: No? No, of course not. They tell us through movies.
They tell us through comedy shows, through symbolism and music
videos through these codes hidden in plain sight.
Speaker 2: And here's the part that really gets under your skin.
The theory is that when we watch it, when we
consume it as.
Speaker 1: Entertainment and we laugh at the joke, or we just.
Speaker 2: Sit there and eat our popcorn while watching.
Speaker 1: The movie, that's the invitation.
Speaker 2: That is the invitation. That's you, us, everyone turning the
knob and opening the door for the vampire.
Speaker 1: You're giving your consent without even realizing it. You're becoming complicit.
Speaker 2: It's a kind of metaphysical contract. They show you the horror,
you accept it as fiction, and by doing so, you've
tacitly agreed that it can exist in the real world.
You've been neutralized.
Speaker 1: It's like you're signing away your soul. But you thought
you were just signing up for a streaming service. And
today we are going to read the fine print on
that contract. Are welcome to thrilling threads. We're here to
pull on these loose strings of reality and just see
what happens, see what unravels.
Speaker 2: And I'm here to try and keep us from getting
completely lost in the conspiracy weeds. But I have to
warn you this particular thread, it's less like yarn and
more like a high voltage cable.
Speaker 1: Yeah, this is not a light one. We're diving into
this incredibly dense, incredibly dark conversation that I mean. It
goes everywhere from a guy having a meltdown at the Atlanta.
Speaker 2: Airport to the forensic chemistry of dissolving bodies with sulfuric
acid on a private island.
Speaker 1: We are going deep. We're talking about the Luciferian spell,
what the source calls the Zombie Society, and of course
those emails, the bizarre coded emails.
Speaker 2: So yeah, this is your warning. Buckle up. We're not
just reading between the lines today. We're trying to decode
the invisible ink.
Speaker 1: Okay, so let's lay at the map a little, just
so everyone knows the terrain. The primary source is this
clip from the Joe Rogan Experience, a conversation with Roger Avery.
Speaker 2: And it's important to know who Avery is. He's not
just some random guy. He's an Academy Award winning screenwriter.
He wrote pulp fiction with Quentin.
Speaker 1: Tarantino, which is key, right, It's.
Speaker 2: Absolutely key, because he understands story. He understands how narratives
are built, how fiction works, how to manipulate an audience.
Speaker 1: So he's not looking at this like a journalist just
looking for facts and figures. He's looking at it like
a storyteller. He's looking for the script. And he thinks
the script for our reality is being written by a
very small group of people.
Speaker 2: He actually throws out a number eighty five hundred.
Speaker 1: People, which is so specific.
Speaker 2: It's incredibly specific. It implies he thinks this is an
organized group, not just a vague concept. Yeah, and he
believes these eighty five hundred people are well running the
whole show.
Speaker 1: And the show today is going to cover what. First
we have the Atlanta Airport guy, the man who supposedly
woke up.
Speaker 2: Then there's the whole theory of predictive programming, the idea
that movies are basically trailers for future crimes.
Speaker 1: Then the real nitty gritty, the forensic debate over what
was happening on Jeffrey Epstein's island. Was he buying acid
for his water treatment planned or for.
Speaker 2: Something else, something much much darker.
Speaker 1: And the emails. We have to talk about the emails,
the pizza, the beef jerkey, the torture videos. We're going
to try and parse that language that the source claims
is a blatant, almost insulting code.
Speaker 2: And the whole thing is sort of anchored by this
old philosophical idea Latin phrase Munda's voltiicipi.
Speaker 1: The world wants to be deceived.
Speaker 2: The world wants to be deceived, so let it be deceived.
Speaker 1: That phrase, just it sends a shiver down my spine. Yeah, okay,
let's start with the prophecy part, this idea that fiction
isn't really fiction.
Speaker 2: Right. So Avery kicks off with this fascinating point about
certain creators. Yeah. He specifically names Ridley Scott and Kormack.
Speaker 1: McCarthy heavy hitters, the heaviest man, and.
Speaker 2: He suggests that these artists, these top tier storytellers, they
know things.
Speaker 1: They're not just guessing.
Speaker 2: No, his argument is that they're not just sitting in
a room imagining dark scenarios out of thin air. There
are somehow privy to information. They get the memo before
the rest of us do.
Speaker 1: He gives a really specific example too. He talks about
a movie plot. He doesn't name the film, but the
description is vivid, extremely vivid.
Speaker 2: It's about a plot where people are put into fifty
five gallon drums filled with sulfuric acid.
Speaker 1: And sometimes the drums are like disguised, made to look
like they're full of milk or some other industrial fluid,
and then they're just shipped around the world.
Speaker 2: It's a truly horrifying image. But Avery's point isn't just wow,
what a scary movie idea. His point is about our
reaction to it.
Speaker 1: Yeah, he says, if that movie came out today, right now,
the reaction.
Speaker 2: From the public wouldn't be shocked. It wouldn't be oh
my god, what a twisted imagination the writer most happened.
Speaker 1: No, the reaction would just be, yeah, that's what's happening.
Speaker 2: That sounds about right.
Speaker 1: We just NodD along, which suggests we've hit this point
of like total desensitization. The line between the most extreme
horror movie and the evening news has just it's gone.
Speaker 2: It's completely evaporated. And this is the perfect entry point
into this concept of predictive programming.
Speaker 1: It's a term that's been floating around conspiracy circles for
a long time, but I feel like Avery really crystallizes it.
Speaker 2: He does. The idea is that the elite, or the Luciferians,
as he calls them, they use media to reveal their
plans before they execute them.
Speaker 1: So it's kind of like an inoculation by showing it
to you in a movie. First, the shock value is
gone when it happens in real life.
Speaker 2: Exactly, you get a little, tiny, safe dose of the
virus in a movie theater with your popcorn and your soda.
So when the real virus hits society, your psychological immune
system doesn't have a total meltout.
Speaker 1: Your brain just goes, oh, I've seen this before. I
have a file for this.
Speaker 2: Building falls down. Check saw that in ten different action movies.
You don't panic in the same way. You just accept
it as part of the ongoing story of reality.
Speaker 1: But Avery takes it a step further, doesn't He It's
not just about like psychological cushioning.
Speaker 2: No, this is where he brings it back to the
vampire rule. He thinks it's about a cosmic or karmic law.
They have to tell you as part of the ritual.
Speaker 1: And if they show it to you and you don't
rise up, if you watch the movie about the acid
barrels and you don't know march on Washington.
Speaker 2: You've consented. You've consented, you have acquiesced, you have sent
a signal to whatever forces are out there that this
is acceptable.
Speaker 1: The example he uses for this is it's really disturbing
when you actually visualize it. He talks about a Stephen
Colbert skit.
Speaker 2: Yes, this is a very very specific example of what
he calls ritual mockery.
Speaker 1: Okay, so break it down. What does he describe?
Speaker 2: He describes a skit from Colbert's show where Colbert, the
late night host is holding a baby, a real baby, apparently,
and the whole.
Speaker 1: Joke, the whole bit involves him handing this baby over
to a representation of Mullach Moloch.
Speaker 2: For anyone who's not up on their ancient Canaanite deities,
Moloch is the god associated with child sacrifice.
Speaker 1: Usually shown as like a big bull headed statue with
a furnace in its stomach.
Speaker 2: Correct the historical accounts, which are grim talk about passing
children through fire as a form of worship. It is
one of the ultimate taboos in all of human history.
Speaker 1: And Colbert is doing a comedy bit about it.
Speaker 2: Yes, and Avery describes the set. He says, there's this
cloudy red furnace on stage during a comedy show, and
Colbert makes his jokes hands the baby over towards this
furnace and the studio audience. They laugh, they laugh, they.
Speaker 1: Applaud, and that's the sound, that's the key, that's the
permission being granted.
Speaker 2: That is the spell in action. According to Avery, he says,
and I'm paraphrasing here, we're all conditioned now, we've all
seen it, and by laughing at it, we were all complicted.
Speaker 1: It's so heavy. He basically asked, do you think this
is all part of a grand design to desensitize us
to the idea of demon's eating babies? And the conclusion
in the source is a very clear yes.
Speaker 2: It completely reframes how you look at entertainment. If you
buy into this theory even a little bit, you can't
just watch a movie anymore. You can't just laugh at
a skit.
Speaker 1: You're always wondering, am I being briefed right now? Is
this a test? Am I signing a contract? By laughing?
Speaker 2: You start to wonder what we're all laughing at right
now that in ten years won't be a joke at all.
Speaker 1: So if most of us are in that audience laughing along,
what happens when someone isn't What happens when someone stands
up in the middle of the theater and starts screaming
that the movie is real.
Speaker 2: Well, and you get the Atlanta airport incident.
Speaker 1: Okay, I definitely remember seeing clips of this when it
went viral. It was all over social media. But the
way the source frames it is very different from just
you know, guy has public freak.
Speaker 2: At, very different. So the story is, there's this, as
they describe him, well dressed black dude at Hartsteel Jackson
Airport in Atlanta, and he just loses it.
Speaker 1: But it's how he loses it that's important.
Speaker 2: It's everything. He doesn't snap in some incoherent, random way.
He's not yelling about the price of peanuts or a
flight delay.
Speaker 1: No, he starts yelling very specifically that he has read
the Epstein Files.
Speaker 2: Imagine that scene. You're there, you're miserable. It's an airport,
You're just trying to get to your gate, find a
working outlet to chart your phone.
Speaker 1: And suddenly this guy starts screaming at the whole terminal.
You're all going about your lives like nothing's happening. You're
all zombies.
Speaker 2: Zombies and drones those are the words he used. He's
looking at this crowd of people just you know, staring
at their phone, sipping their Starbucks. Yeah, and he sees
them as the walking dead as.
Speaker 1: NPCs avery in the clip makes an immediate connection to
the movie Invasion of the Body Snatchers.
Speaker 2: It's the perfect analogy because the horror in that movie
isn't a monster with claws. The horror is that everyone
you know and love looks the same, but they're hollowed out.
They've been replaced by something that's just going through the motions.
Speaker 1: The spark is gone.
Speaker 2: The spark is gone, and the source poses this really
uncomfortable question, is the Atlanta Airport.
Speaker 1: Guy wrong not about people being literal pod people, but
about the numbness, the drone like state exactly?
Speaker 2: I mean, think about what our society has just collectively
absorbed and shrugged off in the last five years alone.
The source runs down.
Speaker 1: The list, a global pandemic that literally shut down the
entire plance Jack.
Speaker 2: Then we had official, on the record congressional hearings about
UFOs or UAPs, high ranking military officials testifying under oath
about non human biologics, and.
Speaker 1: What happened nothing. We made some memes about it for
a week and then moved on. It was like, oh,
aliens are real cool? Did you see the season finale
of that new show?
Speaker 2: The so what factor, as the Source calls it, and
then of course the revelations about elite trafficking networks, the
Epstein files themselves. The Source argues that we're presented with
these absolute society breaking horrors.
Speaker 1: Keeps coming back to the phrase eating babies.
Speaker 2: He does to drive home the extremity of it, and
we as a society just move on. I just absorb
it and keep scrolling.
Speaker 1: So why why do we do that? Is it just apathy?
Are we just that tired and beaten down?
Speaker 2: I think it could be a survival mechanism. I mean,
if you truly genuinely process the full weight of every
single one of those horrors, yea. If you sat with
the implications of the Epstein case every day function, you
couldn't get out of bed, you couldn't go to your job,
you couldn't pack your kids lunches. So we developed this
psychological callousing. But the source argues that callousing is what
makes us the drones. We're just waiting for the next update,
the next scene in.
Speaker 1: The script, and that brings us back to that Latin phrase,
the one that feels like the thesis statement for this
whole thing.
Speaker 2: Mundus ergo dishipiato.
Speaker 1: The world wants to be deceived, therefore let it be deceived.
Speaker 2: It's this ancient idea that the truth is often just
too painful, too complicated, or too ugly to live with.
So we don't just tolerate the lie. We actively crave it.
We want the illusion.
Speaker 1: We want the steak to taste good, even if we're
in the matrix and we know the steak isn't real.
We choose the blue pill every.
Speaker 2: Time we do. We prefer the comfortable, predictable story over
the chaotic, terrifying reality. So when someone like the guy
in the Atlanta airport stands up and screams the truth,
or at least what he believes is the truth, we
don't see him as a hero.
Speaker 1: We see him as a crazy person.
Speaker 2: We want security to take him away. We want it
to be quiet so we can go back to our
comfortable deception.
Speaker 1: Because if he's right, then our whole world is a
lie and we'd have to do something about it, and
that's just it's too much work. It's easier to just
call him crazy and wait for our barding call.
Speaker 2: You're protecting the narrative, and if this source is right,
that narrative is the most tightly controlled commodity on earth.
Speaker 1: Okay, So speaking of things that are tightly controlled and
that we tend to ignore, we have to get into
the emails, the Epstein emails. This is where it goes
from philosophical to like forensic.
Speaker 2: Yes, this is where we look at the actual text.
And the source is quick to point out how hard
this is to do, as Avery says, it's just stuff
written down. It's boring on the surface, it's lists and requests.
Speaker 1: But then he starts pointing out these phrases that just
they don't make any sense in a normal context, the code,
as he calls it. And look, I've read my share
of boring corporate emails. I have never once seen anyone
ask a colleague to walk beef jerky over to someone.
Speaker 2: That's the exact phrase that jumps out of him. Could
you walk beef jerky over to this person?
Speaker 1: Let's just break that down for a second. How do
you walk jerky. It's a food product, it's an animate.
Speaker 2: You carry it, you send it, you deliver it. You
don't walk it.
Speaker 1: You walk a dog, you walk a child to school,
you walk a person to their car. The verb implies
something that moves on its own two.
Speaker 2: Feet, and the source argues that this strained, clumsy phrasing
isn't the typo, it's the tell. It's the smoking gun.
That beef jerky is code for a person a victim.
Speaker 1: And then there are the food orders themselves. It's always
the same weird menu, pizza, gallons of grape soda ice cream.
Speaker 2: Again, you have to apply the context filter. Who are
we talking about. We're talking about billionaires, people with private
chefs and access to the most exclusive food in the world.
Speaker 1: Right they can have wag you beef flown in from
Japan on a whim. They're not ordering dominoes.
Speaker 2: So the source asks the question, how many billionaires do
you know that sit around eating massive amounts of cheese, pizza,
and grape soda.
Speaker 1: It sounds like the menu for a ten year old's
birthday party.
Speaker 2: Which is precisely the horrific implication. The argument is that pizza, soda,
ice cream, these aren't food orders their code, they're placeholders
for contraband or, in the darkest interpretation, for children.
Speaker 1: It makes you think of modern slang. You know how
people use emojis to talk about things they don't want
to say out right.
Speaker 2: It's the exact same principle. It's a coded language designed
to fly under the radar. And some of the logistical
details in the emails seem to back this up.
Speaker 1: He mentions chilled containers.
Speaker 2: Yes, why do I need a chill bag for these items?
If you're just sending documents or you know, a box
of beef jerky, you don't need.
Speaker 1: A cooler, right, you put it in a Manila envelope.
Speaker 2: But you do need a chilled container if you're transporting, say,
medical supplies or biological samples or something else that needs
to be kept at a specific temperature. It adds this
layer of grim logistical plausibility to the whole dark theory.
Speaker 1: And then there's the really crypt the Damascus email. My
Island is like Damascus. What did you make of that?
Speaker 2: Well, the hosts in the clip were brainstorming it, and
they came up with a few possibilities. The most famous
association with Damascus is the Road to Damascus.
Speaker 1: Where the apostle Paul had his conversion, a moment of
blinding revelation.
Speaker 2: Exactly so in that sense, my island is like Damascus.
Could mean this is a place of enlightenment. Come here
and I will show you the truth, which you know
has a very cult like ring to it.
Speaker 1: Yeah, it does. Come to my island and I'll open
your eyes.
Speaker 2: Another interpretation is that Damascus is one of the oldest
continuously inhabited cities on Earth. It's built on layers and
layers of history, so maybe he meant there are secrets
buried here.
Speaker 1: Or the more modern interpretation is that Damascus has been
a center of conflict, a war zone, a place outside
the normal rule of law, where anything goes.
Speaker 2: It's completely ambiguous. Yeah, but that's the point of a
good code, isn't it. Yeah, plausible deniability. However, there's one
email the source points to that is not ambiguous at.
Speaker 1: All, the torture video email.
Speaker 2: Yes, and this one is so chilling because it's not coded.
The email, as it's reported, just says thank you for
the torture video. I enjoyed the torture video.
Speaker 1: There's no poetry there, no thank you for the extra
spicy hot dog, just.
Speaker 2: Blunt, dark. And this is Avery's anchor point in the argument.
He says, look, while most of it is coded. Sometimes
the mask slips completely. This is an interpretation anymore. This
is a direct, written admission of enjoying extreme sadism.
Speaker 1: And it changes how you see everything else. It removes
the benefit of the doubt. Once I know you enjoy
watching torture videos, I'm not going to assume that your
request for a walking beef jerky is just a quirky
way of talking about snacks.
Speaker 2: No, you're going to assume the absolute worst. And that
email validates the entire pattern seeking exercise. It says you're
not crazy for thinking this is a code. You'd be
crazy to ignore it.
Speaker 1: Okay, So we have the psychological conditioning through media, we
have the coded communications. Now we need to talk about
the physical evidence, the hardware, the purchase orders for sulfuric acid.
Speaker 2: This section of the discussion is for me one of
the most compelling and disturbing. We have to be really
clear about the facts as they're presented in the source.
It's all about the timeline and the quantity.
Speaker 1: All right, lay it out for us, what are the.
Speaker 2: Fact Fact number one, Jeffrey Epstein placed an order for
a very large quantity of sulfuric acid, specifically six fifty
five gallon drums.
Speaker 1: Let's just pause on that. A fifty five gallon drum
is not a small container. It's a huge blue industrial barrel,
the kind you see in a chemical plant. Six of them.
Speaker 2: We're talking about three hundred and thirty gallons of one
of the most corrosive acids known to man.
Speaker 1: Okay, So that's fact one, the quantity. What's fact two.
Speaker 2: Fact two is the timing. This order was placed almost
immediately after his indictment, the sources two thousand and seven
or two thousand and eight, the moment the legal wall
started closing in.
Speaker 1: So let's get this straight. The federal government is coming
after him for sex trafficking. His entire criminal enterprise is
about to be exposed, and his first, his priority, his
first action item is to buy three hundred and thirty
gallons of acid.
Speaker 2: The source puts it in the plainest terms possible. I
got to get rid of some bodies. That is the
breaking bad theory of the crime.
Speaker 1: It's the ultimate evidence disposal method. If you're a trafficker
and the heat is on, you need to clean house.
You need to literally erase the evidence of your worst crimes.
Speaker 2: And Sulphuric acid is brutally effective at that it dissolves
organic material, flesh, bone, teeth, everything. There's no body. It's
very hard to prove a murder.
Speaker 1: It's the perfect eraser. But we have to be fair here.
The source does present the counter argument, right, it does, and.
Speaker 2: It's important that we cover it during the discussion. They
do an on the spot search with an AI tool
Perplexity to find a mundane, innocent explanation for this.
Speaker 1: Purchase, and they find one. The reverse osmosis theory correct.
Speaker 2: The island Little Saint James needed a source of fresh water, so,
like many remote islands, it had a reverse osmosis desalination
plant to convert seawater into drinking water.
Speaker 1: And the search result says that sulfuric acid is commonly
used in these plants.
Speaker 2: Yes, it's used for pH adjustment and to clean the
filtration membranes to stop them from getting clogged up with
mineral scale.
Speaker 1: Okay, so on the face of it, that sounds perfectly reasonable.
He lives on an island, he needs water, the water
plant needs chemicals, case clothes, right, nothing to see here.
Speaker 2: Well, not so fast. The source doesn't just leave it
there they dig a little deeper. First, there's a small
technical rebuttal that using such a strong acid can actually
be bad for the membranes if you're not careful, But
that's a minor point.
Speaker 1: The real issue isn't the chemistry. It's the human behavior.
It's the smell test.
Speaker 2: The smell test, Yeah, exactly. This is where you have
to apply common sense. So let's put ourselves in his
shoes for a moment. You are a billionaire, You have
an army of staff, you have engineers whose entire job
is to run your water plant.
Speaker 1: Right, and you have just been indicted on federal charges
that could put you in prison for rest of your life.
Your world is collapsing.
Speaker 2: What is on your mind? Are you thinking about lawyers
plea bargains, hiding assets, destroying evidence, or are you personally
worried about the pH balance in the desalination plant.
Speaker 1: Yeah, when you frame it like that, it seems absurd.
Oh my god, I'm facing life in prison. But first
I must make sure the water filtration membranes are properly maintained.
Get me three hundred gallons of acid.
Speaker 2: Step the maintenance of that plant would be on a
routine schedule. The engineer on the island would say, hey, boss,
were low on acid time for the quarterly order. It
wouldn't be an emergency purchase initiated by the owner himself
the day after his indictment.
Speaker 1: So the timing is the whole story.
Speaker 2: The timing is everything. As the source says, if it
quacks like a duck. The juxtaposition of the indictment and
the purchase order is what makes it so deeply.
Speaker 1: Suspicious, and it ties right back into that movie plot
Avery mentioned at the beginning, the acid and the drums.
It's like life is imitating the horrific art.
Speaker 2: Or the art was revealing the horrific life all along.
And the water treatment story it's the perfect cover. It's plausible,
it's deniable. It's a mundane explanation for a potentially monstrous reality.
Speaker 1: So we have the means, the acid, we have the
coded communication, we have the motive, which is the indictment.
But the source goes even further. It's not just about
covering up crimes. It's about a belief system. This is
the Luciferian part of the theory.
Speaker 2: This is where we leave the realm of criminal forensics
and enter the territory of ye. Well, theology almost the
why why would people do these things? Why the elaborate rituals,
the codes, and the source is incredibly blunt about what
they believe. The answer is they believe they're eating babies.
Speaker 1: It's such a shocking sentence to say it sounds like
something from a medieval witch trial.
Speaker 2: It does. It sounds like a blood libel. But the
source insists this isn't a metaphor. It's not about you know,
the leader praying on the youth. They claim, it's meant literally.
Avery talks about specific allegations he's heard coming out of
the music industry in Los Angeles.
Speaker 1: He mentions a high level female musician right. He's very
careful not to name names.
Speaker 2: He says, I don't want to be dead either, But
he claims that this person is performing daily sacrifices, killing chickens.
Speaker 1: Every single day in a closet in her home in
Los Angeles.
Speaker 2: It's a bizarre and disturbing image, but it connects directly
back to that ancient concept of Moloch worship, the one
from the Colbert skit. The argument is that this isn't
something new. This is an ancient, dark spiritual practice that
has survived in secret among the ultra elite.
Speaker 1: And they believe it gives them something power, fame.
Speaker 2: That's the implication that blood sacrifice is a transaction, a
way to gain worldly power.
Speaker 1: It just paints this picture of two completely separate realities
existing on the same planet. There's our world, where we
worry about bills and traffic, and then there's this shadow
world where powerful people are allegedly sacrificing animals in their
closets to gain favor with ancient gods.
Speaker 2: And the sources theory is that the veil between those
two worlds is maintained by this spell, a spell cast
by those eighty five hundred people he.
Speaker 1: Mentioned, the ones running the show.
Speaker 2: Their job, he argues, is to keep the rest of us,
the zombies at the airport, so distracted by the movies.
This gets the political drama that we never stop and
look at the actual evidence. We never read the purchase orders,
We never connect the dots and the.
Speaker 1: Emails, because if we did, if we all stopped laughing
at the Moloch joke and started asking questions about the
three hundred gallons of acid, the.
Speaker 2: Spell would break. The whole illusion would just collapse.
Speaker 1: The Source basically concludes that our entire reality is manufactured.
It's an illusion. And the guy at the Atlanta airport
wasn't crazy. He was just the first one in the
audience to realize the movie was real.
Speaker 2: He saw the puppet strings.
Speaker 1: And that that brings us back to the most terrifying
part of the vampire rule, because if we know this,
if you the listener, hear this conversation where you go
and watch that clip and you still do nothing, then you've.
Speaker 2: Just invited them in. You've seen the evidence, you've heard
the testimony, and you've made a conscious choice to stain
your seat and keep watching the show. You've chosen the illusion.
Speaker 1: Wow, Okay, that really puts the onus on us, doesn't
it on the audience?
Speaker 2: It completely removes the comfort of ignorance. Once you look
at the data points, the strange phrasing in the emails,
the timing of the acid purchase. You have to make
a choice. And there are two paths.
Speaker 1: What are they?
Speaker 2: Path One is the mundane explanation. It's just weird billionaire
code for parties, and the acid was for the water plant.
It's a series of unfortunate coincidences that is a perfectly
logical path. It is the path of Mundus Vultachippi.
Speaker 1: Okay, And what's path two?
Speaker 2: Path two is that you accept the pattern is not
a coincidence, and if the pattern is real, then the
implications are more horrific than we can possibly imagine. It
means that the people we dismiss as conspiracy theorists aren't
just seeing shapes in the clouds. They're correctly identifying and
approaching storm.
Speaker 1: It's the difference between peridolia, your brain tricking you into
seeing a face on mars at an actual detective solving
a crime.
Speaker 2: Yes, yeh. And the source argues that the powerful are
banking on us dismissing it all as periodolia. They rely
on us to say, oh, that's just a coincidence, that's
just a sick joke, that's just routine industrial maintenance.
Speaker 1: Because we want to believe the water treatment story. Of
course we do. The alternative is that we live in
a world run by a death cult. And I would
much rather live in the water treatment world. The property
values are better.
Speaker 2: Most people would. That is the fundamental mechanism of the spell.
It works because we want it to.
Speaker 1: This has been a lot we've gone from Bram Stoker's Dracula,
to airport meltdowns, to chemical supply chains.
Speaker 2: It is a single thread that once you pull it,
the entire fabric of what you thought was reality just
comes apart.
Speaker 1: So as we start to wrap this up, this episode
of thrilling Threads, I want to leave everyone with one
final thought from the source. The central idea is that
they have to tell us what they're doing to make
us complicit. That's the engine of this whole thing. So
if you accept that premise, even for a moment, okay,
then you have to look around. Look at the movies
being released this year, look at the comedy skits on
TV tonight, look at the biggest music videos on the planet,
and you have to.
Speaker 2: Ask yourself a different question. Yeah, you have to ask
is this just entertainment or am I being briefed on
the next phase of the plan?
Speaker 1: Is this just a harmless joke or is it a
confession hidden in clain sight?
Speaker 2: It changes everything. You stop being a passive member of
the audience and you become a forensic analyst.
Speaker 1: You can't unsee it once you start looking for it,
And that is a question I want to leave with you.
The person listening right Now, when you look at these anomalies,
the pizza emails, the acid purchase, what do you see.
Do you see the mundane explanation, Do you see the
perfectly reasonable water treatment plant? Or do you feel that
Luciferian spell at work. Are you one of the zombies
at the airport or are you the one who's screaming.
Speaker 2: It's a fundamental question of where you draw your personal
line between random coincidence and deliberate conspiracy.
Speaker 1: We genuinely want to know what you think. Drop a comment,
tell us your take on the great debate, team water
treatment or team acid bath. I know it's a grim choice,
but that's the nature of pulling on these particular threads.
Speaker 2: True inquiry requires you to look at the ugly possibilities,
not just the comfortable ones.
Speaker 1: Absolutely, thank you for taking this very strange, very dark
journey with us. This has been thrilling.
Speaker 2: Threads. Keep your eyes open out there.
Speaker 1: And keep pulling the string. We'll see you next time.