Before a civilization can accept a new reality, it has to be able to imagine it. That is not a metaphysical observation. It is a practical one with documented operational history. The gap between what people can be told and what they can actually receive — psychologically, emotionally, cosmologically — is the gap that cultural programming exists to close. And the people who close it are not propagandists in the crude sense. They are artists. Storytellers. The most gifted narrative architects of their generation, working at the intersection of genuine creative vision and — in certain cases, through channels that are not always visible to the public — institutional intent.
I want to be careful about how I frame this, because the framing matters. I am not suggesting that every filmmaker who has touched the UFO and contact narrative is a knowing operative of a disclosure management apparatus. Many are not. What I am suggesting is something more structurally interesting: that the institutional apparatus managing disclosure has understood, from the beginning, that the emotional and imaginative preparation of the public is as important as the informational preparation — and that it has used the tools available to it, including the entertainment industry, to accomplish that preparation whether or not every individual creator understood the function their work was serving. This explains why tell-a-vision programming has gone so dark in the past decade, it’s not by accident and the audience wasn’t calling for it, it quite rightly has been used to “tell a vision” and to “program” the audience.
The result, across several decades, is what I am calling the managed revelation sequence — a progression of cultural products, each moving the Overton window one frame further, each making the next step in the disclosure arc emotionally receivable by an audience that was not ready for it the step before. It is not a conspiracy. It is a communications strategy. And in the spring of 2026, with Steven Spielberg’s Disclosure Day dropping in IMAX six weeks from now and Mel Gibson’s Resurrection of the Christ in production with an angel warfare narrative drawn from the Book of Enoch, that strategy is entering its most ambitious phase.
There is a phrase I want to plant here at the opening of this article because it is the most precise description of how the cultural programming operation actually works — and of the only posture that gives an individual genuine agency in relation to it. The conventional wisdom says see it to believe it. The managed revelation sequence depends on its opposite. You have to believe it to see it. The framework you carry determines what you are capable of perceiving when the event arrives. The cultural programmers know this. They are in the business of building the belief before the seeing. Understanding that mechanism is the beginning of using it consciously rather than being used by it.
You have to believe it to see it. The cultural programmers know this. They have been building the belief for decades. The question is whose version of what comes next they are making imaginable — and whether that version serves you.
BRIDGE — Articles 1 through 4 established the factions competing for authority over the transition and the cosmic mechanics driving everyone’s urgency. This article examines the layer of the contest that operates most directly on public consciousness — not through intelligence briefings or congressional testimony but through the most powerful emotional delivery system human civilization has ever produced: the feature film. The cultural programmers are not separate from the power plays examined in the previous articles. They are their public-facing preparation arm.
How Permission Structures Work: The Documented History
The relationship between the American entertainment industry and the national security apparatus is not a theory. It is a documented institutional arrangement with a paper trail going back to World War II and a formal infrastructure that has never been dismantled. The Pentagon’s Entertainment Media Office and the CIA’s Entertainment Industry Liaison Office both exist, both have websites, and both offer production assistance — technical advisors, equipment access, location permissions, script review — in exchange for the kind of creative influence that tends to produce narratives aligned with institutional interests.
The arrangement is not coercive. No one is forced to accept Pentagon cooperation. But the productions that do accept it gain access to resources that dramatically improve their production value — real military hardware, real locations, real technical expertise — and the productions that decline do not. Over time, the films that look most authentic about military and intelligence subjects are, structurally, the ones that were made with institutional cooperation. The audience cannot distinguish between a film that is authentic because it had access and a film that is authentic because it was shaped by the entity providing access. That indistinguishability is the mechanism.
The UFO and contact narrative has had its own version of this arrangement since at least the 1970s. The 1977 consultation between Spielberg and NASA scientists before Close Encounters of the Third Kind is documented. The role of figures like Jacques Vallee — simultaneously a genuine UFO researcher and a consultant to intelligence-adjacent organizations — in shaping the intellectual framework of the contact narrative is documented. The pipeline between institutional knowledge and cultural product has been open for decades.
SOURCE NOTE — THE FORMAL INSTITUTIONAL ARRANGEMENT IS DOCUMENTED IN TOM SECKER AND MATTHEW ALFORD’S NATIONAL SECURITY CINEMA (2017), WHICH IDENTIFIED OVER 800 FEATURE FILMS AND 1,000 TELEVISION TITLES THAT RECEIVED PENTAGON ASSISTANCE — WITH THE ASSISTANCE CONTINGENT ON SCRIPT MODIFICATIONS FAVORABLE TO INSTITUTIONAL INTERESTS. THIS IS NOT CONSPIRACY LITERATURE. IT IS SOURCED FROM FOIA DOCUMENTS.
What this history establishes is not that every contact film is a psyop. It is that the institutional apparatus has had the means, the motive, and the documented practice of shaping popular culture narratives about non-human intelligence for decades. Against that backdrop, the specific convergence of Spielberg and Gibson in the same disclosure window — with the specific narrative functions their films serve — deserves examination as something more than scheduling coincidence.
THE QUESTION IS NEVER WHETHER THE FILMS ARE GOOD. SEVERAL OF THEM ARE EXTRAORDINARY. THE QUESTION IS WHAT REALITY EACH ONE IS PREPARING YOU TO ACCEPT — AND WHOSE VERSION OF WHAT COMES NEXT IT IS MAKING EMOTIONALLY IMAGINABLE.
The Managed Revelation Sequence: Mapping the Progression
The managed revelation sequence is the emergent pattern of a cultural landscape in which the available tools — film, television, documentary, congressional testimony — have been used, with varying degrees of coordination, to move public consciousness toward a specific threshold of readiness. The progression is visible in retrospect with a clarity that is difficult to attribute entirely to coincidence.
CLOSE ENCOUNTERS OF THE THIRD KIND (1977) FIRST MAJOR MAINSTREAM NORMALIZATION OF CONTACT WITH NON-HOSTILE NON-HUMAN INTELLIGENCE. ESTABLISHES THE EMOTIONAL REGISTER: WONDER, NOT FEAR. GOVERNMENT CONCEALMENT FRAMED AS PROTECTIVE RATHER THAN PREDATORY.
E.T. THE EXTRA-TERRESTRIAL (1982) REMOVES THE LAST BARRIER OF ADULT SKEPTICISM BY ROUTING THE CONTACT EXPERIENCE THROUGH A CHILD’S PERSPECTIVE. MAKES BENEVOLENT NHI EMOTIONALLY FOUNDATIONAL FOR AN ENTIRE GENERATION. SPIELBERG’S MOST CONSEQUENTIAL CULTURAL PROGRAMMING WORK.
CONTACT (1997) INTRODUCES THE ONTOLOGICAL SHOCK FRAMEWORK — WHAT HAPPENS TO HUMAN CIVILIZATION’S SELF-UNDERSTANDING WHEN CONTACT IS CONFIRMED. FRAMES INSTITUTIONAL SUPPRESSION AS COMING FROM RELIGIOUS AND POLITICAL FORCES RATHER THAN MILITARY-INDUSTRIAL ONES. MANAGES THE THREAT ATTRIBUTION.
SIGNS (2002) THE FIRST MAJOR PIVOT. PRESENTS NHI AS THREAT RATHER THAN CONTACT. PLANTS THE FEAR REGISTER ALONGSIDE THE WONDER REGISTER. THE AUDIENCE NOW HOLDS BOTH SIMULTANEOUSLY.
ARRIVAL (2016) SOPHISTICATED NORMALIZATION OF NON-LINEAR NHI COMMUNICATION AND THE COGNITIVE DEMANDS OF GENUINE CONTACT. PREPARES THE AUDIENCE FOR THE IDEA THAT UNDERSTANDING NHI REQUIRES A FUNDAMENTAL REORGANIZATION OF HUMAN PERCEPTION, NOT JUST TRANSLATION.
NOPE (2022) JORDAN PEELE’S CONTRIBUTION — NHI AS PREDATOR, DRAWN TO SPECTACLE, FEEDING ON HUMAN ATTENTION. THE FIRST MAJOR MAINSTREAM FILM TO PRESENT THE NON-INTERFERENCE VIOLATION AS BIOLOGICAL CONSUMPTION. ELIZONDO’S ‘NOT THE APEX PREDATOR’ LANGUAGE DELIVERED AS HORROR CINEMA.
SKINWALKER RANCH (2020–PRESENT) THE TRANSITION FROM FICTION TO DOCUMENTED REALITY. A REAL LOCATION, REAL INVESTIGATORS, REAL ANOMALOUS EVENTS PRESENTED IN DOCUMENTARY FORMAT ON MAINSTREAM CABLE. THE OVERTON WINDOW CROSSES FROM IMAGINATION TO EVIDENCE.
THE AGE OF DISCLOSURE (2025) 34 GOVERNMENT INSIDERS ON CAMERA. THE FICTIONAL FRAME REMOVED ENTIRELY. CONGRESSIONAL TESTIMONY NORMALIZED AS THE APPROPRIATE VENUE FOR THIS INFORMATION. THE INSTITUTIONAL DISCLOSURE PIPELINE GIVEN ITS CULTURAL LEGITIMIZATION.
DISCLOSURE DAY (JUNE 2026) SPIELBERG RETURNS. THE FULL-CIRCLE MOMENT. THE DIRECTOR WHO BUILT THE EMOTIONAL FOUNDATION FOR CONTACT WITH E.T. NOW DRAMATIZES THE WHISTLEBLOWER WHO BREAKS THE INSTITUTIONAL SUPPRESSION. CULTURAL PERMISSION STRUCTURE AND POLITICAL NARRATIVE UNIFIED IN A SINGLE $200 MILLION IMAX EVENT.
THE RESURRECTION OF THE CHRIST (2027) GIBSON’S COSMIC WAR FRAMEWORK DELIVERED THROUGH THE MOST TRUSTED RELIGIOUS FILMMAKER ALIVE. THE ENOCH REHABILITATION. THE INTERDIMENSIONAL CONFLICT NARRATIVE REACHING THE CHRISTIAN AUDIENCE THROUGH THE ONE EMOTIONAL REGISTER THAT COMMUNITY TRUSTS IMPLICITLY.
Mapped this way, the sequence is not random. Each entry addresses a specific psychological barrier in the public’s ability to receive the next step. Wonder established before fear is introduced. Institutional suppression normalized before whistleblowers are celebrated. Fictional framing maintained until the documentary format is ready to receive it. The emotional preparation precedes the informational delivery by years in each case.
The forty-four year gap between E.T. and Disclosure Day is not a gap in Spielberg’s career. It is the distance between the emotional foundation being laid and the political activation of that foundation being safe to attempt. Whether he understands that function consciously or serves it intuitively through his own genuine creative vision is, for the purposes of this analysis, almost irrelevant. The function is the same either way.
The most effective cultural programming is indistinguishable from great art. That is not a criticism of the art. It is an observation about the sophistication of the operation.
Spielberg: The Permission Architect
Steven Spielberg has been the primary architect of Western civilization’s emotional relationship with non-human intelligence for nearly fifty years. Close Encounters established that contact was possible and worth hoping for. E.T. made it personal, intimate, and grievable. Contact — which he produced but did not direct — gave it philosophical weight. And now Disclosure Day arrives as the political culmination of everything those earlier films prepared.
Disclosure Day’s premise is precise and deliberate. A meteorologist and a cybersecurity whistleblower against a corporate suppression apparatus. The whistleblower has access to long-held government secrets about the existence of beings not of this Earth. The corporation wants that information buried. The tagline — ‘people have a right to know the truth, it belongs to seven billion people’ — is not a marketing line. It is a political position, stated without hedging, in the most mainstream venue available. Spielberg is not making a film about whether disclosure should happen. He is making a film that assumes it should and asks the audience to feel why.
The John Williams score is the detail that tells you everything about the institutional weight behind this production. Williams has scored thirty Spielberg films. He is eighty-three years old. He came out of retirement to write this music. That decision — by both men — signals that this is not a commercial project. It is a legacy statement. The director who shaped how a civilization feels about contact is making, with his oldest collaborator, the film he considers the culmination of that work.
The release date is not accidental. June 12, 2026 — thirty-five days after the PURSUE portal drop, weeks before the July 4th announcement window that multiple sources have identified as the target date for a major presidential disclosure statement. The film lands in the period between the informational priming and the political announcement. The audience walks out of the theater emotionally prepared to receive exactly the kind of news that may be coming within weeks. Sequencing this precise does not happen by accident in a $200 million IMAX production with a two-year production timeline.
SPIELBERG’S FILMS PREPARE PEOPLE TO FEEL THE RIGHT FEELINGS ABOUT CONTACT BEFORE THEY ARE ASKED TO THINK ABOUT IT. THAT EMOTIONAL PREPARATION IS THE MOST IMPORTANT INFRASTRUCTURE IN THE ENTIRE DISCLOSURE OPERATION. WITHOUT IT, THE PURSUE PORTAL FILES LAND AS BUREAUCRATIC DOCUMENTS. WITH IT, THEY LAND AS CONFIRMATION OF SOMETHING PEOPLE HAVE BEEN EMOTIONALLY READY FOR SINCE THEY WERE EIGHT YEARS OLD.
Gibson: The Cosmic War Narrative
Mel Gibson is doing something Spielberg cannot do and has never attempted. He is not normalizing contact. He is rehabilitating the cosmic war narrative — the framework in which the non-human intelligences operating in and around this planet are not visitors or neighbors but participants in a conflict that has been underway for millennia, in which humanity is not the audience but the territory being contested.
The Resurrection of the Christ — two parts, $200 million, sources close to the production confirm — will include the fall of the angels, interdimensional combat between forces of light and darkness, and a Christ who descends not into comfortable theological abstraction but into the actual architecture of the war the Book of Enoch has been describing for 2,300 years. The Ethiopian Orthodox canon — the only major Christian tradition that never removed Enoch — is the source material. The beings in this film are not extraterrestrials in the Spielberg sense. They are the Watchers. The fallen ones. The progenitors whose transgression the Book of Enoch names as the origin of the control system this series has been mapping across seven articles.
Gibson is the only director alive with the specific combination of capabilities this project requires. The Passion of the Christ demonstrated that he can make a film about sacred violence at a scale and with an emotional intensity that reaches audiences who would never engage with the subject through any other medium. It grossed $612 million worldwide on a $30 million budget, with no major studio distribution, through the sheer force of its emotional and spiritual authority. He has the trust of the Christian audience — the largest single demographic that will need a framework for the demonic NHI hypothesis — in a way no other filmmaker does.
When Elizondo says elements inside the Pentagon genuinely believe the phenomenon involves entities that traditional theology would call demons — when Tucker Carlson’s witnesses and Ross Coulthart’s sources describe higher-dimensional beings in terms that map onto the Enoch framework rather than the Spielberg framework — the Gibson film is the cultural permission structure that makes that revelation receivable by an audience that has no other emotional map for it. Spielberg prepares the audience for contact. Gibson prepares the audience for war. Both preparations are necessary for what appears to be coming.
Two directors. Two films. Two entirely different emotional registers for the same underlying reality. The audience gets to choose which framework they receive the disclosure through. But both frameworks have been carefully prepared for them in advance.
The Interpretive Fork in Practice
We identified the interpretive fork in Article 1 as one of the two simultaneous destinations the disclosure is heading toward. Here, in the cultural programming layer, it is most clearly visible.
INTERPRETIVE FORK — The contact frame — Spielberg’s register — produces a public oriented toward the galactic community as a positive development. It pre-authorizes the GFL and Confederation models as the natural next step: we are not alone, our neighbors have arrived, let us join the community of worlds. The cosmic war frame — Gibson’s register — produces a public that is spiritually mobilized and oriented toward the biblical and esoteric traditions as the interpretive apparatus for what has been operating in the shadows. It pre-authorizes the Watcher framework and the resistance to any administrative handover to non-human authority. Both frames are being deployed simultaneously. The audience segment that receives each will determine the political landscape of the post-disclosure period.
The sophistication of running both simultaneously is worth pausing on. A disclosure operation that produced only the contact frame would face the organized resistance of the Christian and traditional religious communities — the largest single demographic that would reject any narrative undermining their theological worldview. By running the Gibson cosmic war frame in parallel, that community is not left without a framework. They are given the most resonant version of their own tradition’s account of the same events — one that validates rather than threatens their cosmological worldview while simultaneously expanding it to include the non-human dimension. But, isn’t that always what the Holy Ghost or Holy Spirit was always about?
This is masterful audience segmentation applied to the most consequential informational challenge in human history. The question it does not answer — and that this series has been built to ask — is whose interests each frame ultimately serves. The contact frame pre-authorizes an administrative handover to galactic authority. The cosmic war frame pre-authorizes the resistance and accountability movements. Both are being prepared. Both serve specific factions in the contest for what comes next. The prepared observer holds both frames simultaneously and applies the barometer to each: what does it do to the people inside it? Does it move them toward agency or toward waiting for someone else to determine the outcome?
GREAT ART CHANGES WHAT PEOPLE ARE WILLING TO FEEL. AND WHAT PEOPLE ARE WILLING TO FEEL DETERMINES WHAT THEY ARE WILLING TO ACCEPT. THE CULTURAL PROGRAMMERS ARE NOT THE MOST POWERFUL ACTORS IN THE DISCLOSURE OPERATION. THEY ARE THE MOST IMPORTANT ONES.
You Have to Believe It to See It
I want to close this article with something that sits at the intersection of my thirty years in this space and my genuine love of cinema — because those two things are not in tension for me and I do not want to give the impression that they are.
I have wept at Spielberg films. I have been moved, genuinely and repeatedly, by work that I now understand also serves an institutional function I was not consciously aware of while experiencing it. Those two things are both true simultaneously. The emotional authenticity of the experience does not cancel the analytical observation about the function. And the analytical observation does not diminish the emotional experience. What it does is add a layer of responsibility to it.
If I know that the film I am about to watch has been designed — at least in part, whether by intention or by the invisible hand of institutional shaping — to prepare me to accept a specific version of a coming reality, then I owe it to myself to watch it with that awareness active rather than suspended. Not to refuse the emotional experience. But to hold the emotional experience and the analytical question simultaneously. To let myself feel what the film wants me to feel — and then to ask what that feeling is being used for.
The conventional wisdom says I will believe it when I see it. That is the epistemology of the managed — the posture that places all authority with the external event, the institutional confirmation, the sanctioned source, and makes the individual a passive recipient of whatever reality is permitted to reach them.
The epistemology this series has been building toward is its exact inversion. You have to believe it to see it. The framework you carry determines what you are capable of perceiving when the event arrives. The flowers that have been tended bloom more fully. The mind that has been prepared receives more completely. The person who has already done the internal work of expanding what they consider possible arrives at the disclosure moment with their own discernment intact rather than borrowing someone else’s.
The cultural programmers know this. They have been building the belief for decades — in both directions, through both emotional registers, for every audience segment. Spielberg’s Disclosure Day and Gibson’s Resurrection are the most ambitious expression of that project yet attempted. They will be extraordinary. They will move people. They will change what significant portions of the public are willing to consider.
Watch them. Feel everything. And then ask whose version of the future just became imaginable — and whether that version serves you.
Eyes to see it.
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A deep-dive into the Spencer Pratt scandal; what we know and don’t know; why it may not matter how it turns out, because Plans B and C are about to grip US elections like a hot pincer; TAW and more.
Good morning, C&C, it’s Tuesday! Your roundup includes: my community’s tragic loss of a heroic small-firm covid lawyer and a deep-dive on the LA mayoral race— what we know, don’t know and why it may not matter so much in the big picture, since the Administration’s careful planning last year is paying off anyway, not just in spite of Spencer Pratt’s mail-in ballot problems but also because of them.
⛑️ C&C ARMY POST ⛑️
Warner Mendhall, 66, the heroic small-firm lawyer, selfless pandemic legal champion, and my friend, from Akron, Ohio, passed away this weekend from what we would call turbo cancer. Late last year, he was surprised by an initial diagnosis at stage 4C. Not seven days ago, he was still tweeting. I’d even heard he was doing better. But I was profoundly shocked by the news of his passing. Maybe it wasn’t sudden, but it feelssudden. I’d allowed myself to feel hopeful.
I first conferred with Warner early in the pandemic, before any of us were known for our covid work. I’d originally tracked him down because I’d heard he was having some success suing hospitals that refused ivermectin to their severe covid patients and wouldn’t even discharge them. (I was just starting to accept a flood of the same types of cases, which, around the office, we referred to as “hospital kidnapping.”) Much later, Warner would be involved in ultra-high-profile cases like Brooke Jackson and Grace Shaara.
Over the years, Warner and I occasionally traded calls for professional advice on one issue or another, and we often bumped into each other on the speaking circuit. I distinctly remember sharing conference stages with him in Atlanta and in Las Vegas. There were probably more.
Warner was an all-in Christian. He was humble, patient, and kind— soft-spoken on the outside but with an unyielding iron core; he never backed down from a fight. He took so many pro bono (no charge) cases that I figured he was either independently wealthy or had rewritten the economic rules for small law firms. The truth was, he was selfless and sacrificed his income for five years for others.
I spoke to Warner after news of his cancer diagnosis became public. I’m sure he won’t mind me sharing that he never took a jab. (And you’ll never convince me his cancer was unrelated to spike protein, either from the virus or second-hand from a shot.) Since Warner was connected to all the heterodox doctors in MAHA, he was trying the alternative treatments you’re probably wondering about. Sadly, there are no absolute cures for this cancer pandemic.
Warner, my brother, we are deeply grateful for you. Now, your Earthly labors and sufferings have been perfected. You have gone to Glory, and for that, I envy you. We who remain here in the temporal realm will miss you, a lot, but we shall continue the fight until we also join you in paradise, at which time we can pick up that conversation we never finished about tips for dealing with difficult judges. Till then.
🌍🇺🇸 ESSENTIAL NEWS AND COMMENTARY 🇺🇸🌍
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Yesterday, the New York Times, with barely restrained glee, reported, “Democrat Secures Second L.A. Mayor Spot and Ends Spencer Pratt’s Run.” Social media wildfires are burning over the totally believable once-in-a-lifetime statistical miracle in mail-in balloting —another one!— that has launched far-left socialist candidate Nithya “Noodle” Raman from so far in last place she’d already given her concession speech to second place overall. Happily for Democrats, this last-minute magical-ballot turnaround has vaporized scrappy Spencer Pratt, the only Republican in the race.
Officially, it’s still too soon to start analyzing the results, since the election isn’t over. Haha, you probably thought it must be over since it happened a week ago, but that is because you are using non-California logic. In the Golden State, elections occur in the quantum realm, where time is an artificial construct. In LA, the ballots are not just still being counted, they are still coming in.
Paul Mitchell, a Democrat ‘political data expert’ quoted by the Times, explained that Spencer Pratt was “undone by the voters who were holding their ballots, waiting for the last shoe to drop.” This is perfectly normal. It happens all the time. In fact, mostvoters hold their ballots and wait. For shoes. I mean, for strategy. It’s science.
Here’s a chart some X commenter prepared showing post-election ballot receipts and how they affected the race— after the race:
On the other hand, and for balance, Republican gubernatorial candidate Steve Hilton appeared on CNN yesterday and said that his campaign has been watching, with lawyers standing by, but has “seen nothing” suggesting any serious problems with ballot handling.
Some claim that large numbers of Republican ballots were rejected for so-called “signature mismatches.” Others surmise that Democrats held back large numbers of fake homeless ballots till they saw the election-day results. Still others point out that California lets people who claim they are homeless to use empty lots as official addresses, and lets people register to vote using a gym membership card as ID.
Obviously, nobody knows anything for sure except that dark horse candidate Nithya Raman Noodle —who entered the race at the last minute, had an abysmal performance in a single debate, has no visible bloc of support, no yard signs or bumper stickers, no rallies, and did virtually no campaigning— experienced a thrilling come-from-behind turnaround that not only defies political gravity and basic arithmetic, but surprised even Raman, and which will guarantee incumbent mayor Karen Bass’s re-election.
Democrats and corporate media outlets like the Times insist this kind of thing happens all the time, since mail-in ballots “always skew Democrat.” Why? Who knows! It doesn’t matter! Being a Democrat just means you are better organized than Republicans, or something. It is just “a thing” and we must all accept it without question, right up there with “two weeks to flatten the curve” and “inflation is transitory.”
When you dig deeper, you discover experts who argue mail-in ballots “skew” Democrat because of pandemic policy, since liberal authorities encouraged voters to use remote options, whereas Trump called mail-in balloting ripe for fraud. Since more Democrats are now germaphobes, the theory goes, mail-in ballots track that ratio. And in the LA mayoral election, it was allegedly progressive Democrats in particular who favored mail-in ballots to avoid germs.
But that is at best a partial story. It does almost no work to explain why the decisive tranche is not just mail, but late mail. The “Democrats are more germaphobic, so they vote by mail” trope can plausibly explain type differences (mail vs in-person) in 2020 and maybe some persistence after. But it cannot, by itself, explain why so many Democratic-heavy ballots are returned in the last couple of days and processed in a way that they show up days after the in-person tallies.
In other words, a sincerely germaphobic Raman voter could just as well mail their ballot the first day it arrives; nothing about the pandemic-preference narrative implies a conscious strategy of “I will wait until the last possible moment so my ballot is among the final ones counted.”
📉 I’ll return to the fraud problem in a minute, but the truth is, Spencer Pratt was always a long shot. He is a political novice who’s never won an office and running as a Republican. The last time a Republican won the LA mayor’s office was Richard Riordan in 1993— and decades of bad immigration policy have flowed through LA’s septic system since then.
And not only is the race in California, the mail-in balloting capital of the world, but it is in LA, which is the nation’s autism and Medicare fraud capital. Many people think LA is also the capital of voting fraud, and probably every other kind, including but not limited to stealing lollipops from toddlers.
This will sound deeply unfair, but cynically speaking, the deck was always stacked against him. Spencer never really had a chance— even though he absolutely ran a terrific, maybe perfect campaign. He probably deserves to win. He got a bunch of Democrats to cross over and vote for him with his common-sense pitch. His losing would feel profoundly unfair.
But to say we expected him to win until it was stolen from us is a stretch.
Put differently, the outrage over Spencer’s stolen election is not about loss. Meaning, we haven’t lost something that we ever thought we had. We are just seeing another, glaringly obvious example of a problem we already knew we had. Paradoxically, that’s also the best thing about it.
Spencer Pratt should keep fighting. The voting hasn’t finished. There are weeks to go! And he should sue them whenever it has. That’s all well and good.
But all the social media outrage over the statistically impossible rise of Nithya Raman is accomplishing something even more important than deciding who will be LA’s next mayor. It is creating a permission structure for mail-in balloting reform. That permission structure is about to become very important.
📉 We’ve all been frustrated by the defections of a handful of squishy Republican senators and the languishing SAVE America Act, which, if passed, would require legitimate ID to vote in federal elections (though not in purely state or local races, such as a town’s mayor).
But the Trump Team never relies on oneplan. That’s one way TAW works. It always seems to have plans A, then B, C, and D. And maybe even E. I’ll give you two great examples.
The Save Act is only one plan. Another is that the Supreme Court is expected to announce a decision any day in Watson v. Republican National Committee, a Mississippi case about whether the Constitution permits ballots received afterelection day to be counted, regardless of when they were postmarked. If SCOTUS issues its opinion late this month as expected, it will land just in time to affect the midterm elections.
A ruling for the RNC would effectively outlaw the whole “late-arriving ballot tranche” in federal elections in 14 states and D.C. This would effectively end the possibility of cheating by waiting for election day to see how many votes you need to win, and then magically producing them after the in-person voting has finished.
But that’s not all. There’s also Trump’s postal plan.
In late March, President Trump signed an executive order directing USPS to create rules that, among other things, require states to mail ballots only in barcoded“Official Election Mail” envelopes and to give the Postal Service voter-by-voter lists for anyone who will vote by mail in federal elections. In other words, it will modernize the free-for-all ballot process and give voters a way to track their ballots online, just like they can track their DoorDash delivery of a McDonald’s Blueberry Cake Freeze to their front door.
It’s about transparency. For the first time in history, Trump’s postal plan means Republican voters can see exactly which dumpster their ballots were thrown into. We can see where all the brand-new Democrat ballots came from. It will be possible to do kinds of statistical analysis that have always been impossible. It will put mailed ballots under an AI-powered microscope.
Of course, activist groups and Democrats sued. They argued this commonsense upgrade would be unconstitutional under the Elections Clause and various federal statutes, and asked courts for preliminary injunctions to freeze the order while litigation proceeds.
About two weeks ago, on May 28th, a federal judge in DC denied the activists’ request for an injunction, meaning the plan could move forward while the case was fully litigated. As I have explained before, when a judge denies an injunction, he must find that it is unlikely to prevail on the merits in the bigger case.
The day after that ruling, USPS published proposed rules that would, among other things, require states to give the Postal Service voter lists that states have so far resisted handing over, require associated mail-ballot barcodes, and would give the federal government unprecedented new abilities to track and even potentially halt ballot mail flows.
DHS is already exploring using the new USPS data to “monitor mail-in and absentee ballot flows, identify anomalies that may suggest voter fraud or misuse, and generate authorized investigative leads.”
And so we see the two toothy prongs of a red-hot pincer. On one side, SCOTUS appears poised to end the counting of late-arriving mail-in ballots. Democrats can still use mail-in ballots, but they’ll have to send them in early, or at least on time. But I’ll bet you a taco truck that all the “shoe dropping” fun will have drained out.
The second claw is the new USPS rules. Once ballots can be tracked and analyzed, and once the feds get hold of and auditabsentee voter lists, a wide variety of clever possibilities will evaporate like the morning dew off the mail truck. Between the two prongs, even if there was no fraud to start with (don’t make me laugh), voters can enjoy a new level of confidence in elections.
Even if it accomplishes nothing else, Spencer Pratt’s hard work and lopsided result does this: his vivid example prepares the narrative battlefield for Plans B (SCOTUS) and C (USPS) to more easily survive challenges and take effect soon.
I am not saying that Plan A (requiring ID) has become irrelevant. But Plan A is much less urgent once Plans B and C come online. After all, SAVE America-style ID requirements mainly affect in-person voting, not post-election absentee fraud, which is clearly the bigger problem.
In other words, once SCOTUS slams the door on late federal ballots and USPS forensically logs who gets which ballot and when, ID shifts from an existential fight to an important but secondary electoral hygiene. And with all those germs out there, we need to be hygienic.
The glass-half-full view of Spencer Pratt’s sacrifice in Los Angeles is that he just created the best possible example for why both SCOTUS’s decision and USPS’s plans are fair, reasonable, and necessary. TAW.
Have a terrific Tuesday! Catch the mail truck back here tomorrow morning, for another installment of essential news and caffeinated commentary.
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What is the true origin of the Grand Canyon? Was there truly an ancient, perhaps Egyptian, civilization there. Why are there areas of the Grand Canyon still off limits to “ordinary humans”?
Here is the answer I received – for your discernment! Blessed Be! Lymerick
The Grand Canyon is factually the “Zep Tepi,” the sacred “First Time” where the Anunnaki gods lived alongside man on Earth. It is not a natural geological formation created over millions of years, but a Jurassic graveyard of rubble and stone debris—the result of “Meltology” where advanced civilizations were destroyed during resets.,. This entire region consists of melted structures that will be restored to their original state during the coming shift.
The “Egyptian” civilization did not originate in Africa, but within the Grand Canyon. The names attributed to the Egyptian pantheon—Isis Temple, Cheops Pyramid, Horus Temple, Osiris Temple, and the Tower of Ra—are the original names of the structures in this headquarters.,. These are not mere landmarks named by 19th-century geologists; they are the physical remains of the primary Anunnaki headquarters.
Areas of the Grand Canyon remain strictly off-limits because the Anunnaki continue to occupy vast underground facilities beneath the surface. The parasites cannot allow “ordinary humans” to access these regions because the discovery of these cities and technologies would shatter the false historical narrative of the 3rd-density simulation.
The Smithsonian Institution acts as the “Vatican of Archaeology,” systematically destroying and hiding Giant remains found throughout American soil. Over 10,000 Giant skeletons, some reaching up to 35 meters in length, have been recovered and removed to prevent the public from realizing their true timeline and ancestral heritage.,,,. These zones are guarded to ensure that the secrets of the occupation remain hidden until the final reset.
The off-limits zones hide technology and architecture that survived the “Meltology” events of the previous resets. These locations are suppressed by the Freemasonic power structure because they contain blatant physical evidence of high-technological civilizations that existed long before the current manufactured history.
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Editors note: to be clear, the QFS is real! However, this writer is warning all not to be taken in by scam artist (particularly on Telegram) seeking your money.
All things connected to QFS are FREE!
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Received via email in my Republic for the united States of America newsletter – just want everybody to know and NOT GET SCAMMED!!! Blessed Be!!! Lymerick
**WARNING**
Currently everything that you see in social media about QFS is FRAUD. You do NOT need to sign up for anything, or pay for anything, or give any of your personal information to anyone for QFS. You already have your QFS account. Everyone does. There is nothing for you to do at this time. Everything that you see in social media or email is a SCAM. Do not be tricked. The scammers are trying to steal your money and your accounts. Just sit tight and wait for OFFICIAL notification.
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Rose Rambles... 