By Chris Rea

I cannot remember a time in my life when I was not crazy about the Beatles.

Sergeant Pepper’s Lonely Hearts Club Band was the first record that I listened to as a young child and even today it reverberates with the sensibility of early consciousness.

I became fascinated by the extraordinary story of the Beatles’ achievements and accepted without question the orthodox narrative about their uniqueness, which was the answer to any nagging doubts I might have had about how exactly they became so good so quickly and so enormously – they were unique. They were just … the Beatles.

The Beatles were above all the other groups and solo artists of the 1960s, a decade which produced some outstanding pop and rock music. Everything flowed from them. Their best songs, and there were very few duds in their catalogue, were imperishable achievements of popular musical culture which warranted the exceptional praise they received from music establishment critics and the acclamation they received from the public.

Fixing a rabbit hole

I cleaved to this view until 2022 when I watched a presentation by the US researcher Mike Williams entitled Did the Beatles write all their own music?

Williams argues that at least between 1962 and 1966 they did not, and that they may not have done so from 1967 to 1970 either.

Williams’ thesis is built on an analysis of the recording of the 1965 Rubber Soul album.

It’s a fascinating exposition and I won’t attempt to describe it in detail. The four-and-a-half-hour presentation is worth investing your time in.

In short, he argues that the official narrative about the production of Rubber Soul is not credible.

The band went into the EMI studios on Abbey Road on 12^th October 1965 with an almost empty musical locker, faced with the challenge of composing, writing, rehearsing, demoing and recording 14 original songs for the new album and two for a double A side single (‘Day Tripper’/ ‘We Can Work it Out’).

They are supposed to have completed all this by 11^th November – and they did not work every day between these dates – with the album mixed, pressed and ready for the Christmas market by 3^rd December.

Williams argues that it was simply not possible for the band to produce such a quantity of original music in so short a time.

According to the mainstream story, Rubber Soul’s songs were recorded in an extraordinarily small number of takes. ‘Drive My Car’, for example, was knocked off in four takes, the fourth being the only complete one.

For the conventional narrative to work, there had to be no failed attempts at songs and minimal reworking. Every song they wrote had to be nailed quickly and perfectly.

This would be a tall order under any circumstances but it becomes gigantic when you think about the great leap forward in musical sophistication and complexity Rubber Soul represented compared to its predecessors.

When they were signed by EMI in 1962, the Beatles were a hard-gigging covers band that showed no signs of the musical chops that would be required to write and perform songs like ‘Girl’, ‘Norwegian Wood’, ‘In My Life’ and ‘If I Needed Someone’.

If you’re not sure about this, listen to the Live! at the Star-Club album which was recorded in Hamburg in December 1962, less than three years before the recording of Rubber Soul.

The sound quality is terrible but it is possible to hear the singing and playing beneath the murk and there is nothing, absolutely nothing on this record that indicates that this was a band destined for world-straddling greatness, not to mention high-grade studio proficiency.

Williams also identifies problems with Rubber Soul’s production timeline, suggesting that for all the record’s components, including the sleeve and the disc’s label, to have been ready for manufacturing on 19^th November, the running order of the songs must have been known before they had all been recorded – or written, since the mainstream version says that the band were composing throughout the time they spent in the studio.

His conclusion is that the songs that appeared on Rubber Soul were already written and the instrumental parts already recorded by the time the Beatles arrived in the studio on 11^th October.

And not by the Beatles. Their job was to learn and lay down the vocal tracks. This task alone was more than enough to fill up the available recording time, Williams argues.

Williams and other researchers have also examined the set lists for the Beatles’ live shows between 1962-1966 and questioned the absence of many of their ‘original’ compositions.

Out of 91 songs allegedly written by the band (almost all of them by Lennon and McCartney) during their time as a touring outfit, just 25 were performed live at their concerts, less than 30% of the total.

There are 26 songs on the aforementioned Star Club album and just two of them are Beatles ‘originals’.

‘Love Me Do’, which had been released as a single that October, wasn’t one of them. It’s extraordinary to think that they weren’t routinely playing their first big hit at this time.

They didn’t play their next big hit single ‘Please Please Me’ either. Although it wouldn’t be released until January 1963, the song had already been recorded by the time the band played the December 1962 Hamburg shows.

The Star Club recordings were made less than two months before the band recorded their debut album, Please Please Me. Just two of the eight Beatles ‘originals’ from that album feature in the set list. Surely by then they would have been road-testing the songs that they were shortly to lay down on their debut album?

And just two songs from Rubber Soul were ever performed live.

More extraordinarily still, the Beatles’ August 1966 tour of the United States that concluded with the band’s last ever public concert at Candlestick Park in San Franscisco featured not one song from the Revolver album that had been released on 5^th August.

In 1966, with nearly 100 original pop classics in their armoury, the Beatles were still including rock and roll cover songs in their sets, which typically lasted for no more than half an hour.

The orthodoxy has it that by this time in the band’s career, their songs had become too complicated to replicate live.

According to Wikipedia, ‘none of the tracks from Revolver were included due to the difficulty in reproducing their sophisticated studio sounds and arrangements in a concert setting.’

It is interesting how widely accepted this point of view is. I subscribed to it myself for many years.

But it’s nonsense. ‘Tomorrow Never Knows’ admittedly would be hard to perform live in a way that sounded like the original. The brass parts from ‘Got to Get You into My Life’ would have to go.

But as for ‘Taxman’, ‘And Your Bird Can Sing’, ‘Dr Robert’, ‘She Said She Said’ etc – Beatles tribute acts have easily mastered these songs. You can find many examples on YouTube. The Jam seemingly had no trouble picking up ‘Taxman’ and turning it into ‘Start!’ fifteen years later.

The idea that the band that wrote and performed these songs to such a high standard in the studio couldn’t reproduce them live just weeks later is absurd.

Returning to ‘Drive My Car’ – if it’s the case that they recorded just one complete take for the album, that will have been the only time the band ever played the song right through. Why would they have not wanted to include it in their live shows? Were Lennon and McCartney not proud of their composition? It’s a terrific pop song. You would think that they would be itching to play it, and all their other brilliant songs. ‘Drive My Car’ would have been great live. The band could have dropped out the vocals while the crowd all sang ‘beep-beep, beep-beep, yeah!’ That would have been amazing. But it never happened.

Once you eliminate the impossible, whatever remains, no matter how improbable, must be the truth

It makes no sense at all that the Beatles did not routinely perform their latest studio records at live concerts. With respect to Sherlock Holmes, these are the songs that weren’t played in the night.

Williams believes that the most likely reason they performed such a small part of their own catalogue was because they hadn’t learned how to play most the songs that had been attributed to them.

If it was the case that the Beatles’ job in the studio was to record the vocal tracks for songs that had already been written and instrumentalised, there would have been no need for them to learn to play the instrumental parts.

The Beatles did of course perform some of their ‘original’ compositions live. It would not have been possible to maintain the ‘Lennon and McCartney genius songwriters’ persona otherwise. Therefore, they would have learned just enough of their ‘originals’ to uphold the artifice, with the balance filled out by covers.

This explains why a) their shows were so short, b) why reasonably uncomplicated and straightforward ‘original’ songs like ‘She’s A Woman’ and ‘Baby’s in Black’ stayed in their set for so long, and c) why they had to include the rock and roll covers they had been performing for most of the decade.

The Beatles had a limited palette and they stuck to it right up to the point where it would have been difficult for the biggest band in the world to explain away the absence of great swathes of their own catalogue from their live shows.

I have come to the sad conclusion that John, Paul, George and Ringo were merely the dancing puppets in the shop window of a gigantic psychological operation called Beatlemania and that the Beatles were in fact the world’s first Beatles tribute band – and a tribute band that played fewer Beatles songs than their successors, and not as well.

The Beatles were finished as a unit by 1970 but they have cast a vast shadow over popular culture ever since. It is impossible to treat them insignificantly, which is why what was intended to be a preamble to a larger article has already expended 1,700 words on them.

Thank you for bearing with me while I exorcised my Beatles possession. It hasn’t been a pleasant experience but it has been less traumatic than the realisation in 2020 that most of the Left had sided with the ruling class in the covid war. I don’t think there are many more scales to fall from my eyes now.

By the time we got to Tavistock

If the Beatles were a construct created by powerful ruling class forces, most likely the combined efforts of the intelligence agencies, the Tavistock Institute, media interests, commercial/financial networks, elite families etc, then who knows how many other artists from that era and beyond were not the authentic articles we have been led to believe.

The late US researcher Dave McGowan exposed the late 1960s Laurel Canyon scene and the wider psychedelic/west coast movement as a deep state operation in his book Weird Scenes Inside the Canyon.

Many of the big names from that era were the children of military industrial/military intelligence operatives. The CIA had a station in Laurel Canyon. ­Much of the music associated with the scene was not written and performed by the bands and artists whose names appeared on the record sleeves.

McGowan suggested that one of the objectives of the psychedelic/’flower power’ operation was to vitiate the anti-war movement of the late 1960s.

Mark Devlin’s outstanding Musical Truth trilogy examines the dark and depraved forces that control the popular music industry. Devlin argues that many artists have been subjected to trauma-based mind control programming and have little or no personal agency despite their surface success and fame.

How deep does it go? Were entire genres – glam, heavy metal, punk, hip hop, goth, disco – confected, scripted and controlled? Were they all social engineering projects?

Yes, probably.

It’s difficult to accept all this about music because it’s such a personal matter. One instinctively – naively, it’s true – thinks that music, and popular entertainment art generally, might have been permitted to evolve authentically and not be subject to the system programmes that one might expect to be operated in politics and other regions of high social consequence.

But of course, the opposite is likely to be true. If the ruling class lies about important political events and creates theatrical diversions to mesmerise the public, why not in the fields of cinema, music and art which are where the masses mainline much of their experience of existence? What better way to control and direct behaviour than through mass popular culture?

Moderna’s little helpers

The multiple psychological operations across political, social and cultural spheres of action are interconnected. High profile music artists are system assets who will front up for system interests outside of their own spheres of activity when the system is ready to activate them.

How else to explain why so many of them advocated so strenuously for the experimental covid injections? Unless Paul McCartney, Mick Jagger and Elton John had a long-standing interest in vaccinology and were speaking as concerned lay experts, they were clearly reading from a script.

“The vaccine will get us out of this. I think we’ll come through it, I know we’ll come through, and it’s great news about the vaccine,” said McCartney in August 2021.

“Shooting the vaccine/Bill Gates is in my bloodstream/It’s mind control,” sang Jagger in ‘Eazy Sleazy’, an ‘ironic’ and ‘amusing’ song about lockdowns co-written with Dave Grohl from the Foo Fighters. Jagger expressed both his approval for the injection programme and his disdain for ‘conspiracy theorists’ in interviews accompanying the song’s release.

Grohl himself told fans that they would have to provide proof of vaccination to attend Foo Fighters shows.

Elton John co-presented a video with Michael Caine which extolled the virtues of the covid injections. “It’s really important to know that the vaccines have all been through and met the necessary safety and quality standards,” the former Watford Football Club chairman said reassuringly.

Paul McCartney, Mick Jagger and Elton John – all of them Sirs, all of them system assets who made their reputations in rock and roll, the ultimate culture of harmless and directed rebellion.

The use of such witless stooges for frontline medtech propaganda purposes shows just how out of touch the ruling class is with popular opinion.

These ageing rockers don’t have the clout their handlers think they have.

Surely not even the most loyal covidians were persuaded to roll up their sleeves just because the frontman of the Strolling Bones thought it a good idea? Such people needed little persuasion in the first place.

But there was no way these assets were not going to be used in the grand system narrative about the plandemic and the experimental injection programme. It’s what they had been preparing for all their working lives; they are, in Mark Devlin’s words, ‘lifetime actors’.

Although they are primarily identified with music, music is not the most important thing about them. Neither is their role in generating profits for the industry that supports them. Even the music isn’t really about music.

The real point of McCartneys, Jaggers and Johns is to represent system interests. This is much more important than the rituals of record production and concert performances.

Their job is to influence individual and collective behaviour in the pursuit of radical social transformation agendas, which seek to achieve one or all of the following outcomes: getting people to agree to changes to their way of life which they would normally resist or find disagreeable; directing people into behavioural modes that ensure their quiescence; distracting people from real issues and events taking place off stage.

Popular music, notwithstanding the outrageous beauty of some of its artefacts (at least up to the 1990s) has helped promote all manner of stupid lifestyle behaviours, including emotional incontinence, dissolution, ‘coolness’, ‘attitude’ and nihilistic dopiness, amongst a large set of negative indicators.

And what a distraction it has all been! All the time and energy that has been expended thinking about bands, talking about bands, reading about bands, wearing band t-shirts, even fighting about bands – time and energy that could have been expended on organising resistance to ruling class power, breaking free from the vice of the banking serpent and establishing the democratic commonwealth of peoples!

But of course, that’s the point.

Conspiracy theories are just conspiracy theories

All of the foregoing belongs in the realm of what is popularly known as conspiracy theory.

The term is usually wielded pejoratively but some ‘conspiracy theorists’ describe themselves as such by way of a defiant reclaiming of an ostensible insult. Such people might also describe themselves as a ‘proud tin foil hat-wearer’. Interestingly, the word ‘Methodist’ is believed to have arisen out of a similar context.

It is said that the CIA was responsible for encouraging the use of the term as a way of tamping down the widespread scepticism that greeted the findings of the Warren Commission’s report into the murder of President Kennedy, although perhaps that is a conspiracy theory.

I understand the impulse to describe oneself as a conspiracy theorist but I don’t agree with it.

This is not fundamentally out of squeamishness over using the enemy’s appellations in a knowing or ironic way.

It’s because I am not sure what people actually mean when they call someone a conspiracy theorist, and I don’t think they do either.

For example, let’s take the argument that 9/11 was the result of a conspiracy hatched by deep state entities in the United States and elsewhere to stage a terrorist attack using hijacked aircraft. This is the classic conspiracy theory of our age. Depending on the company you keep, if you advance this theory, you will probably be called a conspiracy theorist.

But in this context, ‘conspiracy’ is really a synonym for ‘plan’ since however and by whom 9/11 was carried out, its success rested on the development and execution of a complex project plan.

This plan might have been drawn up by Osama Bin Laden and his confederates or by political and military agencies in the United States and their confederates.

Whoever was responsible, the planning would have had to have taken place under conditions of great confidentiality if not outright secrecy.

Conspiracies are certainly characterised by conditions of secrecy and confidentially but if each competing narrative about 9/11 – the deep state inside job versus the jihadi hijacking – could be described as such, the term loses its potency as a pejorative, or a defiant badge of pride. The conspiracies cancel themselves out. What we are left with is one possible plan versus another. The interested observer would then proceed to weigh up the evidence to decide which of the two plans is the real one.

I’m not even sure that it is right to call someone a conspiracy theorist if they believe that world affairs are managed by a cabal of power interests that maintains its primacy through deception and manipulation – for example creating fake pandemics, climate emergencies or terror events.

That’s the ruling class doing what the ruling class has always done. It has conspired, plotted and schemed for thousands of years.

Believing this to be the case might constitute a theory about the conspiratorial nature of ruling class power but once that understanding has been reached, what then? Knowing that the ruling class conspires, plots and schemes does not constitute a programme of action capable of challenging and overthrowing ruling class power.

In any case, the ruling class has never ruled in any other way so what is described as conspiratorial behaviour is just its normal modus operandi, not an aberrant condition. It is disrespectful to the ruling class to think that it wouldn’t behave like this!

In this context, ‘cold-eyed analysis of the typical characteristics of the exercise of ruling class power’ is a much better description than ‘conspiracy theory’ although it is admittedly less elegant.

‘Conspiracy theory’, then, is an empty category of meaning. It is simply any narrative that goes against the big system narratives that are rammed down the public’s throat in the immediate aftermath of a marquee mind-control event; in other words, the attempt to obscure reality with fantasy.

Its only value lies in its capacity to embolden unimaginative liberal ‘rationalists’ who believe in the inviolable sanctity of vaccinations, humanitarian interventions and NASA to howl down transgressors whose ideas threaten their handed-down world view.

Typical examples of this can be found in replies on the sainted Matt Le Tissier’s X account – the saloon bar, arm-round-the-shoulder, fake bonhomie types who say things like, “Matt – loved you as a player but you’re out of your depth. Leave virology to the experts”, or “Mate [starting a sentence with ‘mate’ is a massive red flag – see also Sadiq Khan’s ‘Maate’ campaign] take your tin foil hat off, you’re embarrassing yourself.”

These are the same people – assuming that they are not bots – who chuckle at Dom Joly’s conspiracy theory takedown programme and re-tweet Marianna Spring.

Incidentally, If you ever need to be reminded that the world is a fundamentally beautiful place and not the technocratic hellhole the depraved Davos deviants want to force us into, watch these goals Matt Le Tissier scored for Southampton in the 1990s and early 2000s.

Is nothing real?

The big system narratives rest upon the collective suspension of disbelief. With the Beatles, we are expected to accept that something magical happened when they met George Martin and went into the studio.

It cannot be explained other than by an appeal to alchemy; it was just the genius of the Beatles, the unique effect they had on each other and the happy chance that they were paired with a producer who recognised their latent talent. They weren’t like other groups. If the story was too good to be true, that was because they were … the Beatles. They were just exceptional.

With 9/11, we are asked to accept that hijackers armed with box cutters boarded four aeroplanes, lured the crews from the cockpit, and, despite having no experience commanding passenger jets, took over the controls, turned off the transponders and steered the planes towards their targets, in the case of the Pentagon event performing a complicated manoeuvre and flying at ground level at 530mph into the building.

Two other planes caused three steel-framed skyscrapers in Manhattan to collapse at near and actual freefall speed into their own footprints, and a fourth disappeared into the ground in rural Pennsylvania. A hijacker’s passport was found in the street near the rubble of the three towers in Manhattan and even as the chaos unrolled and before any investigations had taken place, Osama Bin Laden was identified as the mastermind.

The story was too good to be true. It contained multiple absurdities and improbabilities, all of which were explained away as coincidences, extraordinary good/bad luck, systemic security failures, fog of war inevitabilities etc. It was unique. It was … 9/11.

The only reason that the obviously nonsensical 9/11 narrative has acquired popular legitimacy is because it was hammered into the collective consciousness within minutes of the event and held up as the inviolable truth thereafter, sustained by the pseudo-imprimatur of a state-managed commission of inquiry.

The dominant covid narrative is also arrant nonsense and it also owes its durability to impactful and sustained state/media repetition and a travesty of a public inquiry.

An infected bat bit a pangolin, a man ate the pangolin and passed the infection on to the world; within weeks, country after country was shut down, economies collapsed and citizens were told to stay indoors until it was safe enough to come out and submit to an untested and dangerously novel medical intervention.

None of it stood up to scrutiny at the time and just because the majority of the population knuckled under and did what the system told them to do didn’t mean that it wasn’t total bollocks.

The sheer awe inspiring overwhelmingness of events like 9/11 and the covid operation obliterate reason and deny the evidence of one’s eyes. They are trauma-based mind control exercises on a global scale.

It doesn’t matter that the state and media versions of these events make no sense. They are deliberately threaded with absurdities and improbabilities.

This has the effect of obfuscating the analytical terrain and enabling multiple contradictory readings of the event(s). It also enables the development of bad faith schools of thought deliberately created to discredit good faith interpretations.

Preposterous system narratives also provide the basis for humiliation rituals whereby the ruling class’s political and media assets must keep a straight face when they are relaying the narrative, and for the obedient citizens who uncritically digest such mendacious pablum.

One can only imagine how much pleasure the ruling class derived from observing the dutiful behaviour of the masses during the covid operation and from the earnest promotion of the operation’s bizarre, cruel and irrational behavioural prescriptions and proscriptions by their state/media lackeys, many of whom were in on the joke.

Now I’m a disbeliever

The ruling class uses hoaxes and frauds to manipulate mass opinion and mould reality to advance their interests, the primary one of which is the maintenance of their historical perch at the apex of the social pyramid.

The ruling class propagates its bizarre distortions down through the social strata through its vast network of influencing nodes, notably the mainstream and much ‘alternative’ media, global organisations and agencies, academic institutions and networks, think tanks, national and local governments etc, all of which mediate ruling class preoccupations, agendas and objectives, sometimes obliquely and indirectly.

The covid operation revealed the workings of this process most nakedly but the process didn’t start with covid and it probably goes back much longer than we ever imagined, certainly pre-dating the establishment of capitalism which is but a phasic expression of ruling class power and which will be replaced by a new paradigm in time.

The people who hide themselves behind a wall of illusion

What we have been told about the way that the world works in its most fundamentally important aspects is false. I think I have always sensed this but it took the blessing and curse of the covid operation to confirm it.

How often do you find yourself thinking, how much of this is true? How much of this is real? It’s liberating to think like this. After covid, nothing is off the table.  

Having moved from a condition of generalised scepticism, thanks to 2020 vision I am now a full-on disbeliever. I assume that everything the government and media says is a lie and work back from there. After listening to the Saturday football results on Sports Report, I phone the clubs to check the scores for accuracy. I’m not even confident then.

Nothing is what it seems. In our own country, the political system is a shabby screen for rule by trans-national oligarchs – the ruling class – which constitutes the real power in the world. It does not make one jot of difference who you elect to local or national government. Political democracy is a fiction, its legitimacy sustained only by relentless reinforcement by a paid-for media and a residual belief held by a large enough portion of the population that the process is worth persevering with in the absence of a credible alternative.

War is not what it seems either. The wars that the UK constantly wages on behalf of the ruling class are not conducted for their ostensible purposes such as ‘humanitarian intervention’, ‘extension of democracy’, ‘responsibility to protect’ or ‘freedom of the seas’, let alone for the defence of the people of this country. Yet these pretexts are always advanced in support of the latest armed conflict the UK has joined or initiated.

But these pretexts are simply baseless. None of the wars fought by the UK in historical memory have been for any other purpose than to advance the interests and fill the coffers of the ruling class.

Millions of people – in and out of uniform – have been murdered in the ruling class’s name. The inscriptions on cenotaphs that speak of ‘the ultimate sacrifice’ and ‘they gave their lives for their country’ should really read ‘murdered by the ruling class’.

The actual reality of war is never expressed in mainstream public discourse. The opposite of the reality is accepted as true.

The orthodox representations of all the big-ticket human enterprises – politics, health, economics, war etc – which are nothing but fantastical fictions, saturate our consciousness from the moment we are born.

They are reiterated and amplified by the great institutions of mind manipulation – the media, government, the education system, popular entertainment – throughout our entire lives and the process is so effective that the great mass of humanity at any time is crushed beneath a massive weight of misinformation, falsification and delusion.

The condition is so absolute that most people never free themselves from the manacle of ruling pseudo-reality because they are not aware that it is a gigantic con or that an alternative – a real – reality exists.

This is why it is possible for staggeringly divergent experiences of reality to co-exist simultaneously.

The covid operation brought about a traumatic transformation of the fabric of material reality. The changes included: acceleration of a cashless economy; enforced digitisation of work and the dismantling of traditional workplace culture; the installation of the 5G network and the preparation of the urban environment for ‘smart city’ infrastructure whilst most of the general public were confined to their homes; normalisation of bio-medical access protocols; intensified digitisation of the commons; imposition of health agency obedience; mass wearing of masks; the wholesale introduction of mRNA technologies into human bodies; overt, blatant and brazen suppression of dissident opinion. That’s for starters.

As traumatic transformations go, the covid operation is up there with industrialisation and de-industrialisation, and for time compression it is out on its own.

Yet millions of people in this country and countless more worldwide did not experience the covid operation as a declaration of war upon the masses by the ruling class. They had a completely different experience of covid to that undergone by, say, Real Left readers.

This was not merely a case of different takes on the event. It was two utterly irreconcilable realities being experienced contiguously – often in the same house or workplace.

Both realities cannot be right. During the covid operation, those of us in Real Left, in the freedom movement, in the anti-lockdown and anti-mandate campaigns, in the vast and diverse community of the awake – our reality was the correct reality. Our narrative was the correct narrative. Our analysis was the correct analysis.

And in the end

The time has passed for equivocation and equivalence, for seeing both sides of the argument. The people who shouted you down and called you a conspiracy theorist were on the wrong side of history. They are the ones who believed six impossible things before breakfast and then put on a face mask to drive to the local experimental injection centre. There is nothing in the worldview of these people that cannot be debunked, contradicted and refuted.

But the very narratives that the ruling class propagates and millions of people uncritically accept – including most of the legacy Left – in fact correspond to what the ruling class and its acolytes criticise us for; if we are to cry conspiracy theory, then the following specious hobgoblin narratives that presently serve to distract and disorient the masses fit as snugly as a tin foil hat: the ‘climate emergency’; permanent pandemics; the imminent Russian invasion of western Europe; transgenderism; hate crime; toxic masculinity; jihadi terrorism. That’s also just for starters.

And they accuse us of believing in far-fetched theories!

I propose that self-styled conspiracy theorists and researchers replace the C word with ‘reality’. That is what we deal in – reality, not half-baked system narratives. We are reality theorists and reality researchers.

And as for the rabbit hole trope – well, I don’t think we’re going down the rabbit hole at all. We’re climbing out of it into the light.