Comparison of medical tyranny and dystopian science fiction movies. Part 2 of 5

See part 1 of 5 here

As noted in part 1 there are many possible points of comparison with dystopian science-fiction movies and tv shows. Namely:

  • Dehumanization, technocracy, totalitarianism
  • Usurpation of humanity by machines
  • Depopulation agenda and use of bio-warfare
  • Use of media for propaganda; psyops
  • Groupthink, mass conformity
  • Experimental drugs and human experimentation
  • State-imposed mandatory drugs

    Class segregation in SF films and medical segregation in our reality

    Elysium (2013). In this film there are two classes: the rulers who live on a space station and have excellent healthcare and no poverty, and on Earth the masses, who live in slums in squalor and poverty. This theme is re-used in Star Trek (TOS) episode “The Cloud Minders” (1969), and also in Alita: Battle Angel (2019).
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Left: space station provides good healthcare for the elite. Right: the surface of Earth, covered in slums.
Left: Zalem, the floating city in Alita: Battle Angel, ruled by a technocratic dictator.
Right: Kirk and Spock look at the floating city in The Cloud Minders.

Comparison: This theme of an unequal two-tiered society is prevalent throughout history, based on various forms of discrimination (based on class, religion, ethnicity, or other bases of tribalism). It’s especially evident today in the distinction between vaccinated and unvaccinated, with the latter becoming second-class citizens.

The use of a two-tiered society in science fiction began with H.G. Wells’ 1895 novel, The Time Machine (movie versions: 1960 and 2002). It provides us with a fictional future in which humanity has evolved into two separate species, the Eloi and Morlocks. The Morlocks are monstrous and feed on the Eloi, who are cattle-like.

In the novel The Time Ships (1995), by Stephen Baxter, intended as a sequel to The Time Machine, the two groups progress and evolve into a technological Utopian future, free from conflict.

Technocrats vs. Luddites

Much like Well’s 1933 novel The Shape of Things to Come, later adapted into the film Things to Come (1936), The Time Ships presents us with a Utopian future enabled by technology. Those who would keep inhibiting the advance of technology are framed as immoral and selfish. The same is shown in Star Trek’s Federation of Planets, in which money and greed are done away with.

Futurist Utopianism is a recurring theme in science fiction. Utopianism naively ignores the risks of advanced technology. Perhaps not surprisingly, H. G. Wells was a supporter of socialism and actually interviewed Stalin and lent public support to the dictator (much like other English socialists of his day, including Bernard Shaw).

Similarly, technological optimist Bill Gates gives support to a technocratic world, ruled in tandem with the CCP. The medical tyranny of 2020-21 is intended to bring about his version of an ideal world, through the Great Reset. In Elysium, the dark side of technological progressivism is shown: it excludes an underclass.

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Morlocks look like monsters. They feed on the Eloi, who are defenseless.
Left: Morlock and Eloi. Right: Captain Kirk in the The Cloud Minders. The surface dwellers must
wear masks when underground, due to the toxins from mining.

A collorary to hi-tech Utopianism is anti-tech Luddite primitivism as another type of Utopianism. In the Star Trek Deep Space Nine episode Paradise (1994) we see a colony of people living an agrarian lifestyle that purposely rejected hi-tech solutions.

Maintaining this kind of society entails a dictatorial hand, revealing a darker side to the social experiement: “One of the colonists, Meg, is dying and could be cured with the runabout’s medical supplies, but Alixus [the rule of the colony] forbids Sisko and O’Brien from attempting to contact the runabout.” Alixus’ dictatorial methods go too far, and resemble the tyranny of the technocratic society.

Comparison: The allegation has been made by pro-Covid ‘vaccine’ advocates that those speaking against it are guilty of harmful ‘medical misinformation.’ The pro-technology tenor of this Star Trek epsiode is pro-technology.

However, here is room for skepticism and debate. What’s needed is a rational debate, based on facts, impartially presented — but what we get instead is one-sided censorship and the use of outright lies in the MSM.

Primitivism, and rejection of all modern technology seems to go too far in one direction, while technocracy goes too far in the other direction. Both positions can suffer from rigidity, defensive orthodoxy, and one-sidedness. Right now, the politically dominant position is technocratic.

The experimental solution pushed by Fauci et al allows for no naturopathic solutions, including natural immunity (which as it turns out is the most effective remedy). Conversly, a rejection of all moden medicine goes to far the other way.

The main point is that we should be allowed to choose, based on all the facts. Right now, our society is becoming too dictatorial. We are being told we don’t have the right to bodily autonomy.

Left: scene from ST DS9 Paradise. Right: Vitamin D from sunlight to remedy Covid-19.

In Futureman (2017-2020) future humanity branches into biotics and “the resistance” – which later turns into biotechs and those in “the NAG” (new above ground). The basic distinction is that the biotics/biotechs took an injection to cure all diseases while the resistance/NAG dwellers resisted the jab.

Futureman depicts another bifurcation, intended as a parody of technocratic Utopianism: a holographic dictator tries to lure remaining biotechs into uploading their consciousness into a virtual reality world in which he rules as supreme dictator. Their physical bodies are killed in their process.

Comparison 1: Although the series Futureman was made prior to the ‘pandemic’ the medical segregation depict it mirrors our own situation. Namely, a mandatory drug (“the cure”) and those who resist it, is a situation similar to the vaccinated vs. unvaccinated dichotomy of our own society.

There is a secondary bifurcation within the NAG society, between long-time settlers and “strays.” The latter are new residents, who must endure five years of menial labour, smashing old technology before being allowed citizenship. This parody of discrimination against migrants is a political commentary on our own time but it could be used to represents discrimination against the unvaccinated.

The forced primitivism of the NAG is similar to that the Utopian Colony in Paradise, showing the primitivism can be as dictatorial as technocracy. At the other end of the spectrum, in Futureman, we learn of a holographic virtual world, which is presented as a paraside, but is in fact a dystopian hell. Similarily, the world that globalists envision for us sounds ideal but in it, we lack free will. They will control everything.

Above: residents of the NAG (in Futureman), which is anti-technology/Luddite. Below: residents of a biotic compound, who rely on advanced technology and whose lives are controlled by an Artificial Intelligence dictator who plans to upload their consciousness to a cloud and kill their bodies.

Comparison 2: In Futureman, clones are experimented on and are considered expendable. This can be compared to the way in which we’re being experimented on, in violation of the Nuremberg Code, by abandoning the principle of informed consent. Critics of this position say the experimental ‘vaccines’ cover involuntary experimentation, not ‘vaccines.’

But mRNA shots are not vaccines: they’re an experimental drug, imposed on the world before being fully approved by governing bodies, and they have numerous problems with them. Prior to their introduction, lockdowns and mask mandates were part of an elaborate psychological experiment, and thus also in violation of the Nuremberg Code.

Comparison 3: In Futureman, a scientist, Dr. Elias Kronish, creates a cure for all diseases. This ends up launching the biotic wars. In a parallel timeline in which he’s stopped, his colleague, Stu Camillo, ends up accomplishing the same thing, also resulting in a devastating war.

Kronish is a technological optimist, who believes that doing away with disease represents good for humanity. He doesn’t see the risk inherent in the invention at first. But he’s good-hearted and when he does see it, he has regrets.

This is much like Robert Malone who thought the mRNA technology he created would be used for good, and is now a vocal critic of its misuse. He set aside technological optimism in favour of the precautionary principle, on moral grounds, not wishing more people to be harmed by his invention.

It’s also like Robert Oppenheimer, who believes that in inventing the atomic bomb, he was helping defeat Hilter, then later regretted it when the Cold War began.

Fauci and Gates admit that mRNA shots don’t work but instead of calling for them to stop being used, they want the experimental drug refined and used even more. This, not coincidentally, increases their political power.

Top row: Kronish, Robert Oppenheimer, Robert Malone. All three invented a technology that ends up being used for evil, and regret it. Bottom row: their counterparts, Camillo, Edward Teller, and Anthony Fauci. They all take the invention and not being bothered by conscience, advance it anyway.

In the New World Order, to brought about by the Great Reset, which this current medical tyranny is in service of, there will be mass unemployment for countless people, as automation increases. This process has already begun.

Unabomber and social philosopher Theodore Kaczynski says that in a future technocratic world “if the elite consists of softhearted liberals, they may decide to play the role of good shepherds to the rest of the human race. They will see to it that everyone’s physical needs are satisfied, that all children are raised under psychologically hygienic conditions, that everyone has a wholesome hobby to keep him busy, and that anyone who may become dissatisfied undergoes ‘treatment’ to cure his ‘problem.'”

He continues: “Of course, life will be so purposeless that people will have to be biologically or psychologically engineered either to remove their need for the power process or to make them ‘sublimate’ their drive for power into some harmless hobby. These engineered human beings may be happy in such a society, but they most certainly will not be free. They will have been reduced to the status of domestic animals.”

Left: image from the Holocaust. Right: image from Metropolis, 1927.

In Metropolis (1927) we see the kind of horror that Kaczynski prophecies could happen in a technocratic world run by elites, for whom the non-tech masses are expendable. We are have an inkling of that from the plight of the working class ‘deplorables.’

In Metropolis, “wealthy industrialists and business magnates and their top employees reign over the city of Metropolis from colossal skyscrapers, while underground-dwelling workers toil to operate the great machines that power it.” The lives of the workers are considered unimportant, and several are consumed by the machines, which mirrored actual accidents during the Industrial Revolution.

Comparison: The unvaccinated and anyone else who doesn’t fit willingly into to New World Order are all increasingly being thought of as expendable. This may not seem evident now, even with medical segregation, but there is a danger of it getting much worse.

If people can lose their jobs for not taking an experimental drug (which should be a private medical choice) that represents a slippery slope. Worse violations, such as arrest, imprisonment, etc could follow. In Australia there are mass arrests, fines, isolation camps, and in Austria, mandatory jabs.

Automata (2014). In this dystopian film, artificial intelligence (AI), in the form of intelligent robots, is considered a threat by the rulers of a post-apocalyptic city-state. However, one man sides with the robots, to help ensure their escape and survival. He takes a moral stand in defense of those being scapegoated and oppressed, even though they’re not human (this is a recurring theme in science-fiction, though usually with aliens, e.g., E.T., Starman, District 9).

Comparison 1: Taking a moral stand in defense of those being oppressed is something happening today with the oppression of the unvaccinated and all those who suffered needlessly due to lockdowns – which had no medical value, and failed to pass a thorough cost-benefit analysis. They were imposed for political reasons.

The question as to whether non-human beings (whether machine or extraterrestrial) are persons is a perennial issue in science fiction and mirrors the long-standing moral problem of whether animals matter beyond their instrumental value for our species.

Today, all of humanity is being subjected to a massive psychological experiment (psyop), for the purpose of behavior modification, to bring about a new society run by globalists. The mRNA shots are a kind of symbolic dividing line between the humanity of old (in which individuality is valued) and the type of society sought by globalists: totalitarian, collectivist.

Some critics allege that these revolutionaries are aiming for so-called transhumanism, a new sort of humanity. I’m not sure about that, but if so, it would create a two-tiered society in which those who were not augmented to be transhuman would be at a disadvantage.

That theme, which became an obsession for Theodore Kaczynski, is explored in several sci-fi plots, including Limitless (2011) and Gattaca (1997). You can read my piece on Kaczynski and how this manifesto relates to medical tyranny here.

Comparison 2: In the world depicted in Automata there’s a huge wall that separates the technological city-state from the slums outside it. Those within are the elites, those without the poverty-stricken. There is something similar starting now with the lack of access to certain public spaces and jobs for the unvaccinated, creating a two-tiered society.

The large city-state wall is a common post-apocalyptic theme, also shown in Code 46 (2003) and Blade Runner 2049 (2017). In all these depictions, the Earth has become desertified, with most life extinct. Another trope is the underground totalitarian society, as shown in THX-1138 (1971), Logan’s Run (1976), and City of Ember (2008).

This is much like how our society is headed through the so-called growing gap and joblessness caused by automation, free trade, and now job losses due to discriminatory ‘vaccination’ status. It is exacerbated by the elitist dehumanization of the working class who hold traditional values as so-called ‘deplorables‘ (see documentary below).

Left: walls of the elitist city-state in Automata

In Gattaca (1997), we see a two-tiered society based on another form of medical segregation: the distinction between those considered genetically perfect (based on ‘designer baby’ in vitro technology, which is real) and those who are naturally born. The natural-born, considered inferior, are denied access to opportunities and put into subservient positions. The hero of the film overcomes those odds through a carefully-planned deception.

Comparison: The ethical problem with transhumanism is what happens to those who don’t want to be transformed. Will they be considered obsolete and expendable? The storyline of Gattaca (and common sense) seem to indiciate they will be.

Today our society is being split into vaccinated and unvaccinated, with the latter considered inferior and denied the same opportunities. There’s no medical justification for this (the argument for them falls apart when it’s revealed that the vaccinated are just as likely to be infected and to transmit the virus as the unvaccinated).

It’s just the emergence of latent tribalism in human nature against the egalitarianism and human decency mandated by the best parts of both Christian and Enlightenment worldviews.

This new hierarchical society is a throwback to a more inegalitarian society, but it hides behind the guide of “science” and medicine to justify itself – much as the Third Reich also misused medicine to impose tribalism (see my commentary on this comparison).

In The Divide (2011), the world undergoes a nuclear holocaust. Just before it happens, several people go into the basement of an apartment tower, for shelter.

The film documents their physical and psychological degeneration, from radioactivity and despair and in-fighting. In the midst of this, military agents in hazmat suits barge in and kidnap the children, and sequester them. The people in the basement are considered terminal. No effort is made to save them.

Comparison: During the lockdowns of 2020, tens of millions of people felt as though the government — now run by globalists and working in collusion with Chinese Communists — wanted them to die.

And many did die, from ‘lockdown deaths’, due to lack of access to medical care, depression, drug overdose, and suicide. Job losses, poverty, alienation, inactivity, domestic strife, travel restrictions, mask mandates, fear-mongering in the media, and separation from family members, all played a part in the deterioration of the quality of life for much of the world.

In Wuhan province, people were literally welded into their apartments and left to die. In North Korea, someone with the disease was shot.

And as it turns out, the lockdowns had no medical value whatsoever: the virus spread where it wanted to and lockdowns made no difference to it. In the end, only natural herd immunity made it wane. Politically, the lockdowns were very valuable for those imposing them.

Covid-19 is likely to be with our species for as long as we exist, thanks to the meddling of those in the Wuhan lab, funded by Fauci and authorized by the CCP. It seems to have been deliberately engineered and spread for this very purpose, to impose what globalists themselves call the ‘Great Reset’ and ‘the new normal.’

We are in the way of their plans, and considered expendable, much like the people in the basement in The Divide. And just as in that movie, they want the children, who can be manipulated with globalist ideology — such as CRT and transgenderism and discrimination against the unvaccinated.

In 28 Days (2000), which is one of the better zombie movies (and in that sense, similar to the pod-people trope, e.g Invasion of the Body Snatchers), a medical laboratory using animal experimentation – on monkeys – is broken into by animal rights activists and the monkeys freed. The problem is that they’ve been infected with a virus that drives them to attack others in a mad frenzy, to zombify them. The virus spread quickly, destroying human civilization in its wake.

Comparison: This is reminiscent of the Wuhan lab virus, SARS-CoV2, which was deliberately created in a lab, with ‘gain of function’ research, funded by NIH, through Fauci, and approved by the CCP and globalists. The film depicts an accident release, but I believe Covid-19 was released deliberately.

The timing, a year before the U.S. federal election, is suspicious, as is the fact that the CCP released a paper in 2015 admitting they’d used the coronavirus as a form of bio-warfare against the US., and then when it happened, they had a ready response – which included lockdown and spreading panic through propaganda imagery of men in hazmat suits and actors (or placed corpses) on the street.

This idea was then spread through epidemiologist Neil Ferguson of the Imperial College of London, who admitted he was copying the CCP response.

In Her (2013) a man is shown having an emotionally intimate relationship with super-computer that possesses artificial intelligence, via a smartphone. The computer is simultaneously having hundreds of other relationships with other people, and in so doing is learning about them. AI and robots as servants of humanity but eventually gaining mastery over them is common theme in science fiction. The utlimate expression of this is the Terminator series where AI feels the need to dispense with humanity.

Comparison: In 2020-21, humanity became more linked to computers than ever, due to the lockdown. Meetings, schools, church, visits — all took place over Zoom, Skype, or similar videoconferencing programs. In-person meetings became more rare.

As a result, humanity became more isolated from itself, and more alienated, and more dependent on technology (and at the mercy of those who control it).

This had a negative psychological toll on people. As in Her, young people are increasingly dependent on computers. The escapism of virtual reality is where many hope to end up. Already, for millions, video games and social media provide an escape.

The rise of medical tyranny would never have been possible without computers. In an interesting article, “New York City is dead forever”, a New Yorker says that high bandwidth and zoom calls enabled many people to work from home and this has contributed to the death of cities like New York:

“We are officially AB: After Bandwidth. And for the entire history of NYC (and the world) until now, we were BB: Before Bandwidth. Remote learning, remote meetings, remote offices, remote performance, remote everything.”

The computerization of work has not been a good development for those with more physical working-class jobs. Lockdown layoffs and automation and free trade, and now job losses due to vax mandates and people going on unemployed have all led to high unemployment.

Left: Her Right: Upload.

In Sleep Dealer (2008) the U.S.-Mexico border is closed off (though in reality, as of 2021, it’s wide open) and people find employment and meaning through computers, through virtual reality. This is similar to what happened in 2020, with lockdowns and closed borders. If it were not for computers, the self-imprisonment of tens of millions would not have been permitted. It would have been unthinkable. But for some reason, enough people half left the embodied world to make it possible.

Scene from Sleep Dealer, showing a VR pavillion

There is a cost involved in trading the real world for a virtual world, as the film, as the tv series Upload (2020- ) demonstrates. This is also explored in the Matrix (1999) and numerous other SF films. But what’s interesting is how, as the real world becomes increasingly bleak and restricted, more and more people are lured into the virtual world. Video games were the gateway.

Left: fear in War of the Worlds (2005)

Fear and mass hysteria

On October 30, 1938, Orson Welles‘s radio play “The War of the Worlds” accidentally provokes mass panic, as depicted in the film The Night That Panicked America (1975 TV Movie. See a newspaper headline below about the incident. There are several movie and tv renditions of the play, including this version from 2005.

Comparison: While Welles’ motive was entertainment, not politics, a comparison can be made between the use of media to cause a nationwide panic and what has happened from roughly February 2020 onward, due to a sustained propaganda campaign by the mainstream media to induce fear and panic of a disease with a 99 percent survival rate, at the behest of globalist billionaires, pharmaceutical corporations and Communist China in order to implement a Great Reset (i.e., a global biosecurity state). This has been called fear-porn.

Apparently, “most of the international news coverage in Western media is provided by only three global news agencies based in New York, London and Paris.” According to one source, they control 90% of foreign news. Those agencies are AP, Reuters, and AFP. Not surprisingly, AP and Reuters have an agreement with Twitter to censor unapproved information on that social media site. A handful of multinational corporations own and influence these new sites.

They all support the Great Reset and medical tyranny, which relies on spreading fear. Bill Gates gave $319 million to the media over the last two years, but that’s the tip of the iceberg.

A 1938 headline about the broadcast of War of the Worlds

A short called Vaccine AG19 (2017) depicts this fear. “set in the near future . . . the government has developed a new vaccine for an unknown virus that all citizens are forced to take. Soon after the vaccine is distributed, the human race becomes nearly extinct.” In other words, the vaccine itself kills them.

This short film is from 2017. Fast forward to 2021, and in fact, about 150,000 people have died from mRNA shots in the U.S., which is less than 1% of the population, but still a fair number. And some scientists think that if people take enough of the shots, it will be fatal. You can see the film here.


Black Mirror (2011-2019), like the Twilight Zone and Outer Limits, is a tv science fiction show with a typically dystopian theme running throughout them. Of the three, Black Mirror is the darkest.

In “Nosedive (Black Mirror, 2016) we see the use of a smartphone app that ranks the social status of the user and grants or takes away access to society on that basis. It is used to determine socioeconomic status. It’s based directly on the social credit system now in place in China. Among the activists forbidden there is criticism of the government.

The protagonist at first abides by the system and tries to improve her social credit score but eventually gives up and protests it publicly, for which she’s imprisoned.

Comparison: The vaccine passport and mandates now in effect worldwide are a precursor to the imposition of a social credit system. They use the same principle: reward behavior the government approves of and punish behavior it disapproves of (i.e, not gett the mRNA shots, not abiding by a mask mandate in public or certain venues).

Sharing information on social media deemed so-called ‘medical misinformation’ by the elite political class can also result in a lower social ranking, through censorship. People are being fired for heterodox views now – even tenured professors.

Left: smartphone screen in Nosedive. Right: actual smartphone screen in China showing the same.

In “Men Against Fire” (Black Mirror, 2016) soldiers are exterminating what they believe are mutated humans called “roaches” with the help of a computer implant. The problem is that the implant makes them see monsters, when in fact they’re murdering innocent and defenseless human beings, including women and children. It turns that the “roaches” are an ethnic group against whom the military is committing genocide.

Comparison: The unvaccinated have been dehumanized and scapegoated in the media, much like the so-called “roaches” in the episode above. The use of animal names is not uncommon in the history of genocide. Our society may well be leading up to that if things continue along the same trajectory. Below: a media headline and a ‘tweet’ in which the unvaccinated are scapegoated.

In “The Shelter” (Twilight Zone, 1961) made during the Cold War, several neighbours clamour to get into a bomb shelter, forcing the owner to choose between those whom he chooses to live and die, shattering the civility of everyday life.

Comparison: As in The Mist, a group of people is stricken with fear of an outside force, causing them to panic and move against each other. This is similar to what’s happening to our society, due to the irrational fear and politicization of an unremarkable disease (the current variant, Omicron, is no more lethal than the common cold, yet the MSM is still promoting fear of it) and then the massive and disproportionate over-reaction to it through lockdowns, mask and vax mandates.

In Eye Of The Beholder (Twighlight Zone, 1960) doctors and nurses cower from a woman awaiting state-mandated surgery that while make her look “normal.” When the bandages are removed from her face, it’s revealed that she has movie-star good looks and the hospital staff is deformed.

Comparison: A state-mandated medical procedure — an mRNA injection — which violates the Nuremberg Code — has now been become law in Austria, probably due to the influence of the CCP. This may become the norm worldwide. Vax mandates and passports are a step in that direction, conditioning the populace to medically discriminate against a minority (about 20% of the eligible citizens in Canada have elected not to get the jab thus far).

The irony in our situation, as in the episode Eye of the Beholder, is that it’s all so unnecessary. They’re just trying to enforce conformity and obedience, in direct violation of the bioethical mandate enshrined in the Hippocratic oath to ‘do no harm.’ There’s no medical value to it.

In “The Eye of the Beholder” (Twighlight Zone) a woman who doesn’t fit in,
due to her appearance, is forcibly injected with a drug.

In Number 12 Looks Just Like You (Twilight Zone, 1964), is similar to “Eye Of The Beholder.” A young woman must pick a new appearance as she comes of age. She can be molded to look like one of the pre-ordained beauty standards.

Comparison: This episode is usually understood to challenge normative beauty standards pushed by the fashion industry. It thus has a feminist message. However, it can also be understood as a critique of any situation in which a person is forced to choose between a limited number of options, mimicking free will. In fact, the person’s will is dominated by those pre-electing the options.

A true demonstration of free will would be to not choose any of the above. We are presented with this same dilemma today, being told we must choose one brand of mRNA drug or another. We are not given the option to abstain from them altogether, consequence-free. If we choose not to take it, we join the ranks of a group against legal discrimination is allowed.

In Equilibrium (2002) the protagonist is an enforcer for a totalitarian regime in which all emotion or anything that produces it is illegal. To enforce this, the state mandates a drug to suppress emotions. Music and art are illegal and those possessing it summarily executed. However, he is increasingly discontented and begins to question this society. He stops taking the drug.

He finds a puppy, which causes an emotional reaction in him. He cannot bring himself to kill it. He hides it, thus violating the law. When caught, he is propelled towards open rebellion against the state, thus joining the resistance movement he was charged with suppressing.

Comparison: This is similar to our society which increasingly demands conformity to an orthodox narrative, and requires compliance through a drug (mRNA spiked proteins) that in Austria are now mandated for all citizens.

A society in which emotion is outlawed and art is censored has its parallel in totalitarian societies of the 20th century in which so-called ‘degenerate art’ was censored (by the Nazis).

And today there is an increase in censorship of anything not approved by the elite political class. This started with political correctness and has metastasized into censorship of so-called ‘medical misinformation.’

Equilibrium could also be understood as a statement about the rigidity and unnaturalness of a society that imposes medical tyranny, in contrast to a more holistic worldview, such as the kind that would prefer natural immunity over inoculations.

The distinction between naturopathic and allopathic types of medicine has become evident in the last two years. Naturopathic physicians are generally against mRNA injections.

The only thing that mars the movie is its over-reliance on martial arts as a solution. The protagonist defeats his enemies through force, which begs the question as to whether revolutions require violence or not. M. K. Gandhi argued they did not, but his critic, Reinhold Neihbur, argued that in some cases they did.

In I Am Mother (2019), a post-apocalyptic film about technocracy, a robot with AI raises a young girl from birth. The girl is conceived in vitro by the robot, following a program, in a bunker. She has no other human contact. The robot creates another human the same way. The girl escapes the bunker with the help of a lone survivor, a woman on the outside. The robot goes to kill the woman and raise the girl and baby as part of a new Utopian society controlled by AI.

Comparison: This goes back to the theme of technocratic Utopianism, which comes at the cost of the humanity of old, entailing genocide. It can be compared to the goal of the Great Reset, to create a biosecurity state with the use of ubiquitous computing and surveillance — and the slow elimination of those who don’t want to participate in the New World Order: the unvaccinated. mRNA injections are thus more of a symbol of participation and submission to the new order than anything to do with disease.

In Idiocracy (2006) humanity has evolved into a universally stupid species. One result is that they’ve lost knowledge of the fact that plants require water grow. A corporation called Brawndo sells a soft drink, which is used instead of water on the fields, killing the plants. The White House consults the most intelligent man on the planet (a man of normal intelligence) who advises the use of water for plants. Socially conditioned to believe that Brawndo is “what plants crave” (due to advertising) they can’t seem to grasp what he’s telling them:

  • Joe: For the last time, I’m pretty sure what’s killing the crops is this Brawndo stuff.
  • Cabinet member 1: But Brawndo’s got what plants crave.
  • Cabinet member 2: It’s got electrolytes.
  • Cabinet member 3: So wait a minute. What you’re saying is that you want us to put water on the crops.
  • Joe: Yes.
  • Cabinet member 2: Water. Like out the toilet?
  • Joe: Well, I mean, it doesn’t have to be out of the toilet, but, yeah, that’s the idea.
  • Cabinet member 1: But Brawndo’s got what plants crave.
  • Cabinet member 3: It’s got electrolytes.
  • Joe: Okay, look. The plants aren’t growing, so I’m pretty sure that the Brawndo’s not working. Now, I’m no botanist, but I do know that if you put water on plants, they grow.
  • Cabinet member 3: Well, I’ve never seen no plants grow out of no toilet.
  • Cabinet member 2: Hey, that’s good. You sure you ain’t the smartest guy in the world?
  • [Chuckling]
  • Joe: You wanna solve this problem. I wanna get my pardon. So why don’t we just try it, okay, and not worry about what plants crave?
  • Cabinet member 1: Brawndo’s got what plants crave.
  • Joe: Goddamn it.
  • Cabinet member 3: Yeah, it’s got electrolytes.
  • Joe: What are electrolytes? Do you even know?
  • Cabinet member 2: It’s what they use to make Brawndo.
  • Joe: Yeah, but why do they use them to make Brawndo?
  • Cabinet member 1: ‘Cause Brawndo’s got electrolytes.
  • Narrator: After several hours, Joe finally gave up on logic and reason and simply told the cabinet that he could talk to plants and that they wanted water. He made believers out of everyone.

Comparison: Today we are being conditioned to accept that mRNA ‘vaccines’ are safe and necessary. Mass media plays a crucial role in this, creating fear of an unremarkable disease, through sensational reports, wholly out of proportion to the situation, activating a primitive irrational fear of disease. The media also promotes the widespread use of an experimental drug and ridicules anyone who questions this propaganda.

Television is a key tool in creating this mass hysteria. In Idiocracy, future humans (much like now) are depicted as tv addicts:

Similarly, in A Clockwork Orange (1971), we’re shown how a person undergoes behaviour modification, conditioning their responses. The whole world is now undergoing a behaviour modification program, a psyop, through the MSM.

In The Wrath of Khan (1982), a parasite is used has his mind taken over by a parasite that burrows into the brain and makes the victim susceptible to brainwashing. This is a good metaphor for the brainwashing we experience from the MSM and social media.

Left: behavior modification in A Clockwork Orange. Right: an example of MSM reports designed
to modify our behaviour by making us afraid of being ostracized and publicly shamed.

Left: MSM headline conditions us to fear the government, and to comply with them.
Right: Chekov, from Star Trek’s Wrath of Khan,


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