from The Duke Report:
At the height of the COVID-19 panic, George Webb and I discussed a hypothetical scenario in which a super-state actor, such as the Crown Empire (City of London, Wall Street), its successors (USA), agents (5-Eyes & Mossad), and assigns (UN, WEF, Council on Foreign Relations, Royal Institute for International Affairs, Bilderberg Group, Trilateral Commission, Fabian Society, Military Industrial Complex, World Health Organization, and the Vatican), could use various types of bioweapons to simulate a worldwide pandemic.
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What follows is a “finger in the air,” a rough estimate for a scenario where the goal is to gain widespread acceptance of a regime of injections, conditioning the global population, with very few exceptions, to accept a violation of their most private domain, their own body.
Biology in this scenario serves merely as a vehicle for the carrot and stick tactic, with fear-based compliance being the primary measure of success. In this case, mortal fear. It is through this form of operant conditioning that humans behave as directed, much like Pavlov’s dog, which is conditioned to salivate on command.
The “truth or consequences” irony is that the carrot is the promise of protection against death from the very same people who are threatening to kill all of us.
Step 1 – Battlefield Preparation
EpiWar™️ and its subsidiary discipline, Psychological Warfare, require years of media saturation to prepare a global audience to be frightened of an invisible enemy. As it turns out, the Crown Empire has been at this game for a long time.
Battlefield preparation starts with transmedia meme spreading, where fear of all kinds, especially from invisible or unknown entities, is primary, as shown below from my previous article on EpiWar™️.
Disease has haunted popular culture for more than a century. H. G. Wells anchored the theme in The War of the Worlds (1898), where humanity defeats the Martians not by force of arms but because the invaders succumb to Earth’s microbes. Edgar Allan Poe’s The Masque of the Red Death (1842) already gave plague an allegorical stage, while Mary Shelley’s The Last Man (1826) imagined the collapse of civilization through global pestilence. These early works embedded contagion as a recurring narrative engine, long before microbiology explained it.
Twentieth-century fiction expanded the apocalyptic register. Richard Matheson’s I Am Legend (1954) tied vampirism to pandemic plague, adapted across decades as The Last Man on Earth (1964), The Omega Man (1971), and I Am Legend (2007). Michael Crichton’s The Andromeda Strain (1969) introduced the extraterrestrial virus and the laboratory accident, dramatized on screen in 1971 and 2008. Stephen King’s The Stand (1978) set the archetype of weaponized super-flu, later adapted twice for television. Books like Laurie Garrett’s nonfiction (The Coming Plague, 1994) made plandemics everyday suspense, collapsing the border between entertainment and societal mind control.
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