Back in the early 1980s, when I started working as a reporter, it occurred to me that the mainstream news could be a quite different thing.
What I mean is, I imagined the networks and newspapers covering VERY DIFFERENT stories and hammering on them, day after day. I imagined this with clarity. I could see “another world,” and in that world, reality would take on a radically new shape for millions of people.
Their thought processes would change. Their perception would change.
I knew intelligence agencies were influencing news coverage. They were writing the coverage sometimes. They were the inheritors of “public relations” as an art and science. They were painting pictures of What Exists as surely as artists of the Renaissance were depicting the mythological stories of the Vatican.
There I was, imagining a different news establishment making a different universe.
Since that time, I’ve always known that imagining alternative universes is a vital component of journalism.
For example, what would happen if, in 2020, the New York Times suddenly decided to follow up, day after day, on its own story about 90% of PCR tests being false-positives? Suppose they traced out the implications. Suppose they interviewed many scientists and confirmed the fact that, even by conventional standards, only 10% of all COVID cases in America could be real.
Every major news outlet in the world would pick up this story and run with it. The emerging scandal would shake and crack the pillars of the medical establishment. The “pandemic” would be reduced to a nub.
Back in the early 1980s, I was sensing this sort of reversal of reality, on many issues. I realized how powerfully intelligence-agency news was creating the world.
In a true sense, the public was always only an inch away from seeing a different world. But that inch seemed to be made out of steel.
I spoke to other reporters and editors about this. They weren’t interested. At the time, I was astonished. Couldn’t these professionals see that reality was elastic and malleable? Couldn’t they see that manipulation was far deeper than telling lies? Couldn’t they see that the CIA was a reality-manufacturing company?
A lie wasn’t only a lie. It could be as big as substituting Saturn for Mars. It could be as big as changing out one galaxy for another. It could be controlling the mind, as it were, to look at Los Angeles and see Moscow. It could be switching reels in a projector booth and running a whole different movie on the viewing screen of life.
Surely the CIA knew this.
And then I met Ellis Medavoy.
In my collection, The Matrix Revealed, I publish 28 interviews with Ellis (290 pages).
Operating behind his pseudonym, and other covers, Ellis used the CIA and other conduits to spread disinformation on the scale I’m referring to in this article. He called it “inserting systems.” At other times, he called his work “inventing paradigms,” and “directing progressions of thought and perception.”
I call Ellis a spymaster because that’s what he was. In retirement, there were subjects he refused to address, but what he did reveal to me was stunning in its scope. He took the position that mind control was basically “a rearrangement of space and time.”
His understanding of psychology made psychology look like kindergarten in a playpen.
I came to see the media, academia, the medical cartel, education, governments, and elite foundations as mid-level operators in a long-term operation designed to quell and subdue the DIFFERENT UNIQUENESS of each individual.
Which is to say, every human, left to his own devices, could successively penetrate one curtain of illusion after another; and society, as a result, would look, feel, and be far, far different from what it is now, down to its very core.
Ellis was, as far as I could tell, retired from a career in which he’d worked on contract with an inner circle of men at the Council on Foreign Relations and similar organizations. But those men, bent on control over the masses, weren’t able to design the details of the necessary illusions that would make their goals possible.
Ellis, and other people on his level, took over that task in important respects.
In one of our first conversations, Ellis said to me, “What world do you want for breakfast? World A, B, C, or Z? I can paint any of those pictures. But the more important thing is, I can create the PREDISPOSITION for you to see and accept any of those pictures. That’s a different level of trick…”
A major covert operation always has a cover story to obscure what has really been launched. “The basic unified reality that a few billion people perceive in common,” Ellis told me, “is both the cover story and the covert operation itself. They’re the same…My job was being able to get a person to look in the mirror and see himself as far less than he is. Once you’ve made that trick work, it seems easy. All tricks do, after the fact. But it wasn’t easy…”
My interviews with Ellis are one vital part of The Matrix Revealed.
Reprinted with permission from Jon Rappoport’s blog.