Reality Check: We Are All Victims Of The Deep State

We Are All Victims Of The Deep State's Con Game

 John Whitehead via The Rutherford Institute,

In this carefully choreographed scheme to strip the American citizenry of our power and our rights, “we the people” are nothing more than marks, suckers, stooges, mugs, rubes, or gulls.

We are victims of the Deep State’s confidence game.

Every confidence game has six essential stages:

1) the foundation to lay the groundwork for the illusion;

2) the approach whereby the victim is contacted;

3) the build-up to make the victim feel like they’ve got a vested interest in the outcome;

4) the corroboration (aided by third-party conspirators) to legitimize that the scammers are, in fact, on the up-and-up;

5) the pay-off, in which the victim gets to experience some small early “wins”; and

6) the “hurrah”— a sudden manufactured crisis or change of events that creates a sense of urgency.  

In this particular con game, every candidate dangled before us as some form of political savior—including Donald Trump and Joe Biden—is part of a long-running, elaborate scam intended to persuade us that, despite all appearances to the contrary, we live in a constitutional republic.

Terrorist attacks, pandemics, civil unrest: these are all manipulated crises that add to the sense of urgency and help us feel invested in the outcome of the various elections, but it doesn’t change much in the long term.

No matter who wins this election, we’ll all still be prisoners of the Deep State.

We just haven’t learned to recognize our prison walls as such.

It’s like that old British television series The Prisoner, which takes place in a mysterious, self-contained, cosmopolitan, seemingly idyllic retirement community known only as The Village.

Perhaps the best visual debate ever on individuality and freedom, The Prisoner (17 episodes in all) centers around a British secret agent who abruptly resigns only to find himself imprisoned, monitored by militarized drones, and interrogated in The Village, a beautiful resort with parks and green fields, recreational activities and even a butler.

While luxurious, the Village is a virtual prison disguised as a seaside paradise: its inhabitants have no true freedom, they cannot leave the Village, they are under constant surveillance, all of their movements tracked. Residents of the Village are stripped of their individuality and identified only by numbers.

First broadcast in Great Britain 50-some years ago, The Prisoner dystopian television series —described as “James Bond meets George Orwell filtered through Franz Kafka”—confronted societal themes that are still relevant today: the rise of a police state, the loss of freedom, round-the-clock surveillance, the corruption of government, totalitarianism, weaponization, group think, mass marketing, and the tendency of human beings to meekly accept their lot in life as prisoners in a prison of their own making.

The series is a chilling lesson about how difficult it is to gain one’s freedom in a society in which prison walls are disguised within the seemingly benevolent trappings of technological and scientific progress, national security and the need to guard against terrorists, pandemics, civil unrest, etc.

As Thill noted, “The Prisoner was an allegory of the individual, aiming to find peace and freedom in a dystopia masquerading as a utopia.”

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