WEAPONISED DECEPTION

The “Pandemic”
The “Covid-19 Pandemic” as a Big Lie

Under “Covid-19,” Agamben observes, humanity is once again “entering a phase of its history where truth is being reduced to a moment within the march of falsity” (2021, p. 48). According to Knightly (2021), in keeping with the post-1968 context, “Covid has shown us [that] supposedly enemy nations suddenly come to an accord and demonstrate almost total unity of purpose to spread one big lie.” “Hitler’s notion of the ‘grossly impudent lie,’” remark Broudy and Hoop (2021, p. 379), “is especially prescient today” given the power of organisations such as the Bill and Melinda Gates Foundation to shape global health narratives through direct influence on international organisations such as the WHO and the UN, the media, and the policies of many governments.

Would it be possible to fake a global pandemic given such a configuration of powerful actors? Indeed, it would, as the fake “swine flu pandemic” of 2009 illustrates (Fumento, 2010; cf. Keil, 2010; Wodarg et al., 2009). All that is needed is to fudge the meaning of the term “pandemic” (see Chap. 4) and to run a cynical PR campaign transnationally, such as the one orchestrated by Marc van Ranst (see EvidenceNotFear, 2020).

2009 served as a dry run for 2020, when again a “pandemic” was declared which, upon closer examination, turns out to be nothing of the kind (Davis, 2021). The “Covid-19 pandemic” was, in the view of Kyrie and Broudy (2022a), conjured out of “mass hysteria, malpractice, censorship and juggled data.” In the view of distinguished pathologist Roger Hodkinson in his testimony to Alberta state officials in November 2020, the “Covid-19 pandemic” represents “the greatest hoax ever perpetrated on an unsuspecting public” (cited in Children’s Health Defence, 2020).

Covid Theatre: Performing the “Pandemic”

If the “pandemic” were real in any meaningful sense—e.g. “Covid-19” having a high infection fatality rate, as opposed to the 0.05% median IFR for the under-70s identified by Ioannidis (2021), dropping to 0.03% for the under-60s, 0.011% for the 30–39 age range, 0.002% for 20–29, and 0.0003% for 0–19 (Pezullo et al., 2023)—why was the propaganda so fierce? “In a genuine pandemic,” Dymond (2020) observes, “this constant mental battering would be superfluous,” for no one would need to be persuaded of the danger of a high fatality disease outbreak. As with the 2009 “swine flu pandemic” (EvidenceNotFear, 2020; Fumento, 2010), the “Covid-19 pandemic” was a heavily mediated event.

Because human cognition is, to a significant extent, unconsciously emotion-driven (we tend to feel rather than reason our way to opinions), “acting as if we are infectious agents by wearing masks fosters greater belief in the official narrative” (Kyrie & Broudy, 2022b). The British public was, accordingly, encouraged through government/NHS propaganda to “Act like you’ve got it.” Outwardly healthy people performed the “pandemic” through “social distancing,” “self-isolation,” face masks, etc., making it a social, if not epidemiological, reality. Without the performance—“Covid theatre” in the words of Florida Governor Ron DeSantis (see Harsanyi, 2022)—there would have been no visible evidence that anything was wrong. The PCR tests also served as “crucial ‘theatre props’ in convincing [the public] that the COVID-19 Story was a real pandemic” (Kingston, 2022)

“Bold and moved by an unwavering love of the truth, David Hughes demolishes a mass of clever mis-directions, cunning lies and half-truths serving to prop up the false promises of an emerging technocratic age. This new book probes the history of the movement towards technocracy, the seedy streams of funding, forms of political and societal capture, usurpation of science, and the weaponization of medicine all in service to the perverse inhuman logic characteristic of the present late stage of the fiat system. This scholarly and meticulous deconstruction of the major narratives reshaping much of the world in the image of the transnational order will clear the vision of many eyes still partly mesmerized by Covid-19 theatre.”

—Dr. Daniel Broudy, Professor of Applied Linguistics, Okinawa Christian University (Japan)