The War on Competence

Sir, you-you can't expect us to not take precautions. 

You could be carrying some kind of alien pathogen.

Superman : 

Been here for 33 years, Doctor. 

Haven't infected anyone yet.

General Swanwick : 

That we know of. 

We have legitimate security concerns. 

Now, you revealed your identity to Miss Lane over there. 

Why won't you do the same with us?

Superman :

Let's put our cards on the table here, General.

[Superman effortlessly snaps the links between his cuffs and approaches General Swanwick] 

You're scared of me because you can't control me. 

You don't, and you never will. 

But that doesn't mean I'm Your Enemy.

Jordan Peterson on the #Metoo Moment

Well, some of it is, that there is a concerted effort on the part of the radical, post-modern Left to erase the distinction between categories of criminal behaviour.

The Postmodernists don't like categories, you see -

If you go WAY down into the structure of The Current Culture Wars, what you see is that at The Very Base of it -

There's Two Things that the Postmodern NeoMarxists are full-scale assaulting :

One is Categorisation, because They believe that 

The Only Function of Categorisation is Power.

The other is,

There's a War on Competence -

Because, if you admit that there are hierarchical structures that are predicated upon Competence, 

then you have to grapple with the issue of Competence, 

and you have to grapple with the issue of Valid Hierarchy.

If All Hierarchy is Power

and

All Power is Corrupt

and

All Corrupt Power is Tyranny

then, you can't admit to Competence.

But the downside is, there's a terrible price to be paid for that, because 

Every Value System Produces a Hierarchy.

So if you dispense with the hierarchy, 

You dispense with The Value Systems.

Neo’s Leap

EXT. MOUNTAIN TOP, LATE DAY (CONSTRUCT)

TRINITY sits alone on the tip of an impossibly high finger of rock. It looks like it sits on the rooftop of the world. All around her, as far as the eye can see, lie mountains. Their snow-capped peaks are pink in the sunset light.

She looks into the sunset. Heavy thoughts weigh on her mind.

A hand appears on her shoulder. It’s NEO. How he got on the finger of rock is anyone’s guess.

 

NEO

Boo.

TRINITY grins slightly and pulls on his arm. 

There is only enough room for one on the end of the rock, so he sits down behind her.

 

TRINITY

 "Don’t lose your balance."

NEO

It doesn’t matter if I do.

TRINITY

So, you can fly.

NEO

Yes.

TRINITY

Do you think I can?

NEO

I think you can do anything you want, if you believe.

TRINITY

Like you?

 NEO

 "I don’t know. 

I don’t know exactly what I can do."

 TRINITY half turns.

 TRINITY

 "Will you teach me to fly?"

 NEO

 "I don’t know if I can."

 TRINITY

 "Free your mind of doubt."

NEO stands, and steps in front of TRINITY. He’s on the very, very edge

of the rock. He extends his hand down to her. She grabs it, and he

hauls her up. Her eyes dart to the ground, thousands of feet below the

finger.

 TRINITY

 "In this construct program, the ground can kill."

 NEO

 "I won’t let you fall. Ever."

THEY look into each other’s eyes. Despite the trauma they’ve been

through, and not even truly knowing one another, there’s a connection.

NEO suddenly backs away. He walks on the air with perfect traction, as

though he’s on an invisible plane of glass. He leaves TRINITY standing

precariously on the edge, wobbling a bit as she maintains balance

against nerves. She breathes deep, and looks back up at NEO,

maintaining her cool even as she eyes the spectacle.

NEO stands a few feet away from her, completely at ease as the high

altitude winds ruffle his hair.

NEO extends a hand to her.

 NEO

"It’s not real, Trinity. You’re not standing there. Step out. I can do

 it. You can, too."

With one last glance at the infinite drop, she steadies herself and

stares straight into his eyes. Blue meet brown. Breathless, she steps

straight out.

She takes one step in the air. For a breathless second, as she steps

off the edge, she is stable. When she takes her foot off the edge,

though, she sways, and her foot slips, as though she’s on a greasy

surface bobbing up and down. She corrects herself, tries another step,

sags further.

 TRINITY

 "Shit."

SHE glances down, then locks eyes with NEO. Then drops like an anvil.

 NEO

 "Whoops."

HE dives down, shooting like a missile. TRINITY is calm, falling

backwards, watching NEO come for her. The rocky ground looms behind

her. She makes no effort to reach for NEO as he draws close to her. HE

reaches for her with all his might.

 NEO

 "Grab me!"

TRINITY makes no effort to save herself, even as collision is seconds

away. She stares at him intently.

 NEO

 "Grab on to me!"

SEEING she is doing nothing, he goes beneath her and scoops her up,

Superman style. He barely accomplishes this before he slows and

settles onto the rocky ground.

They are in a twilight glade shaded by the mountains.

 NEO

 "What the hell were you doing?"

 TRINITY smiles slightly. Her madness has a purpose.

 TRINITY

 "Showing you, Neo."

 NEO

 "Showing me what? You nearly gave me a heart attack."

 TRINITY

 "I want you to know how much faith I have in you."

 NEO

 "Oh. And this requires acts of insanity?"

TRINITY smiles. She looks him up and down. She moves intimately close.

 "So, you really are Superman."

NEO

 "Only when I’m plugged in."

 TRINITY steps away. NEO grabs her shoulder and turns her to him. He

 attempts a

 kiss, but she turns her face, letting it land on her cheek.

 NEO

 "What?"

 TRINITY looks at him, then up at the sky.

 TRINITY

 "It’s not you. Just, not here."

 NEO doesn’t understand. TRINITY rolls her eyes.

 

TRINITY

They’re watching us, you big dope. 

Do you know how horny computer geeks get?

INT. MAIN BRIDGE

CHOI, RAZOR, DUJOUR, and CIRCA are sitting around the operator’s

console, feet up, eating. On the screens are patchy images of TRINITY

and NEO standing together in the GLADE. It’s like they’re watching a

soap opera.

TRINITY and NEO are looking in their direction.

ON THE interface chairs, the bodies of TRINITY and NEO lay supine.

EXT. GLADE (CONSTRUCT)

TRINITY grabs NEO by the arm.

TRINITY

Over here."

 SHE leads him into the shadows.

INT. MAIN BRIDGE

THE VOYEURISTIC crewmembers collectively groan as the lovers disappear off the screen and into the darkness.

RAZOR puts his hand on CIRCA’S shoulder and sighs.

 

RAZOR

So romantic.

CIRCA calmly pats his hand and removes it, holding it in front of him.

CIRCA

I’m sure Mary Palmer will appreciate your mood more than I.

EXT. GLADE (CONSTRUCT)

IN the blue twilight shade, NEO and TRINITY kiss tentatively, slowly, then quicker as they give in to their feelings for one another. 

WE move around them slowly, then pan into the shadows, a natural fadeout.

He Caught Her

So why did you film them? 

Because Americans worship technology. It’s an inherent trait in the national zeitgeist. Whether we realize it or not, even the most indefatigable Luddite can’t deny our country’s technoprowess. 

We split the atom, we reached the moon, we’ve filled every household and business with more gadgets and gizmos than early sci-fi writers could have ever dreamed of. 

I don’t know if that’s a good thing, I’m in no place to judge. 

But I do know that just like all those ex-atheists in foxholes, most Americans were still praying for the God of science to save them. 

But it didn’t. 

But it didn’t matter. 

The movie was such a hit that I was asked to do a whole series. I called it “Wonder Weapons,” seven films on our military’s cutting-edge technology, none of which made any strategic difference, but all of which were psychological war winners. 

Isn’t that . . .

A lie? It’s okay. You can say it. 

Yes, they were lies and sometimes that’s not a bad thing. 

Lies are neither bad nor good. 

Like a fire they can either keep you warm or burn you to death, depending on how they’re used. 

The lies our government told us before the war, the ones that were supposed to keep us happy and blind, those were the ones that burned, because they prevented us from doing what had to be done. 

However, by the time I made Avalon, everyone was already doing everything they could possibly do to survive. 

The lies of The Past were long gone and now The Truth was everywhere, shambling down their streets, crashing through their doors, clawing at their throats. 

The Truth was that no matter what we did, chances were most of us, if not all of us, were never going to see The Future. 

The Truth was that we were standing at what might be the twilight of our species and that truth was freezing a hundred people to death every night. They needed something to keep them warm. 

And so I lied, and so did the president, and every doctor and priest, every platoon leader and every parent. 

“We’re going to be okay.” 

That was our message. 

That was the message of every other filmmaker during The War. Did you ever hear of The Hero City? 

Of course. 

Great film, right? Marty made it over the course of the Siege. Just him, shooting on whatever medium he could get his hands on. 

What a masterpiece: the courage, the determination, the strength, dignity, kindness, and honor. 

It really makes you believe in the human race. 

It’s better than anything I’ve ever done. You should see it. 

I have. 

Which version? 

I’m sorry? 

Which version did you see? 

I wasn’t aware . . . 

That there were two? You need to do some homework, young man. Marty made both a wartime and postwar version of The Hero City. The version you saw, it was ninety minutes? 

I think. 

Did it show the dark side of the heroes in The Hero City? 

Did it show the violence and the betrayal, the cruelty, the depravity, the bottomless evil in some of those “heroes’ ” hearts? 

No, of course not. Why would it? 

That was our reality and it’s what drove so many people to get snuggled in bed, blow out their candles, and take their last breath. 

Marty chose, instead, to show the other side, the one that gets people out of bed the next morning, makes them scratch and scrape and fight for their lives because someone is telling them that they’re going to be okay. 

There’s a word for that kind of lie. 

Hope.

Apocalyptic Despair Syndrome

“ADS, that was My Enemy : Asymptomatic Demise Syndrome, or, Apocalyptic Despair Syndrome, depending on who you were talking to. 

Whatever the label, it killed as many people in those early stalemate months as hunger, disease, interhuman violence, or the living dead. 

No one understood what was happening at first. We’d stabilised the Rockies, we’d sanitised the safe zones, and still we were losing upwards of a hundred or so people a day. 

It wasn’t suicide, we had plenty of those. 

No, this was different. 

Some people had minimal wounds or easily treatable ailments; some were in perfect health. 

They would simply go to sleep one night and not wake up the next morning. 

The problem was psychological, a case of just giving up, not wanting to see tomorrow because you knew it could only bring more suffering. 

Losing Faith, The Will to Endure, it happens in all wars. 

It happens in peacetime, too, just not on this scale. 

It was helplessness, or at least, the perception of helplessness. 

I understood that feeling. I directed movies all my adult life. They called me the boy genius, the wunderkind who couldn’t fail, even though I’d done so often. 

Suddenly I was a nobody, an F-6. The World was going to hell and all my vaunted talents were powerless to stop it. 

When I heard about ADS, The Government was trying to keep it quiet — I had to find out from a contact at Cedars-Sinai. 

When I heard about it, something snapped. Like the time I made my first Super 8 short and screened it for my parents. 

“This I can do”, I realized! 

“This Enemy I can fight!”

And the rest is history. 

[Laughs.] I wish. I went straight to The Government, they turned me down.

BLACK BUG ROOM

“And so then, The Student would leave the room, have a real let-down and then begin to exhibit acute neurotic symptoms, as well as a complete inability to do Intellectual Work.

In effect, if you begin pulling-up in Analysis what had happened to these people, on an unconscious level, the effect was as-though a large, slightly-more-than-man-sized black beetle had performed sodomic rape on them.”

"It doesn't kill you. 

What it does is make you feel like you're in a noisy little dark room... naked and ashamed... and there are things in the dark that need to hurt you because you're bad... little pinching things that go in your ears and crawl on the inside of your skull. 

And you know that if the noise and the crawling would stop... that you could remember how to get out... 

But you never, ever will."

— Glory describing the effects of her brain suck to Tara, 

Buffy the Vampire Slayer

Described in the Illuminatus! novels as Chapel Perilous. All the principal characters have to "walk that lonesome valley" to the Chapel and confront their deepest and most primal fears before moving on. Some require repeat visits.

Room 101 in George Orwell's Nineteen Eighty-Four is the Black Bug room made manifest. With, for Winston Smith, extra added rats.

I am a Plumber with a Rising Business, Escott by Name.

“You would not call me a marrying man, Watson?"

"No, indeed!"

"You'll be interested to hear that I am engaged."

"My dear fellow! I congrat ----"

"To Milverton's housemaid."

"Good heavens, Holmes!"

"I wanted information, Watson."

"Surely you have gone too far?"

"It was a most necessary step. I am a plumber with a rising business, Escott by name. I have walked out with her each evening, and I have talked with her. Good heavens, those talks! However, I have got all I wanted. I know Milverton's house as I know the palm of my hand."

"But the girl, Holmes?"

He shrugged his shoulders.

"You can't help it, my dear Watson. You must play your cards as best you can when such a stake is on the table. However, I rejoice to say that I have a hated rival who will certainly cut me out the instant that my back is turned. What a splendid night it is!"

“The story was much extrapolated when adapted by screenwriter Jeremy Paul for Granada Television series Sherlock Holmes starring Jeremy Brett. It became the 1992 feature-length episode The Master Blackmailer and featured Robert Hardy as the eponymous reptilian Milverton.

Holmes’s relationship with the maid is expanded upon, allowing Brett to suggest Holmes’ buried tenderness and inability, or unwillingness, to indulge in matters of the heart.”

You Really Got to Get into The Flow of The River.

“You really get into the flow of The River.  The River runs all through the book.  It’s on many levels, and on one level, Joyce seems to have used as the setting an inn and chapel, and that inn is right next to the river Liffey, so the dreamer is an innkeeper, and his house in the dream, his inn, is right next to the river, so the river runs all through the dream very realistically.  It’s getting into his brain.  As Joyce said, you close your eyes when you sleep, but you don’t close your ears.  So all the sounds of the night get into the dream - the thunder strikes ten times, the rain falls twice, the river runs all through it, the church bells chime the hours, and one part of the brain is registering all those external realities while another part is reliving the life of Confucius in China, and another part is still back in Phoenix Park explaining he didn’t hike down his pants to expose himself to the girls (laughs!).

Interviewer: Phoenix Park - you know, when we did get to Phoenix Park, it didn’t look like what I thought it was supposed to look like.  It’s so big, first of all!

RAW: It’s the biggest enclosed park in Europe.

Interviewer: It’s just like getting the great outdoors there, and putting a big fence around it.

RAW: Most of the animals were donated by the Guinness family.  The Guinness’s are a very central part of FW.  “Guinness” comes from the old Gaelic “MacAngus”, which means son of Angus.  Angus was the father of Isolda and the whole Tristan and Isolde and King Mark theme runs all through FW.  And Guinness creates the Porter which the dreamer sells at his bar all day long, which explains the recurrent question throughout the dream, “why do I am a look a like a poss of Porter piece?”, which is, “why do my two sons look as like as two peas in a pod?”, or “why are there two sides to me?”, and it’s also the dream memory of the refrain all day all long, of one customer after another saying, “A pint of porter, please!”. 

I: Peas parge hob.

RAW: Oh yeah, peas parge hob is in there too.  Sometimes I get high enough on this stuff, I think I hear Joe McCarthy in there saying, “Point of order! Point of order!”.

The Ongoing Pussification of The American Superhero

“We’d spent many enjoyable hours in conversation, working out how to restore our beloved Superman to his pre-eminent place as The World’s First and Best Superhero. 

Following the lead of the Lois and Clark TV show, the comic-book Superman had, at long last, put A Ring on his long-suffering girlfriend’s finger and carried her across the threshold to holy matrimony after six decades of dodging The Issue — although it was Clark Kent whom Lois married in public, while Superman had to conceal his wedding band every time he switched from his sober suit and tie. 

 

This newly domesticated Superman was a somehow diminished figure

 

 All but sleepwalking through a sequence of increasingly contrived “event” story lines, which tried in vain to hit the heights of 

“The Death of Superman”

seven years previously. 

Superman Now was to be a reaction against this often overemotional and ineffectual Man of Steel, reuniting him with his mythic potential, his archetypal purpose, but there was one fix we couldn’t seem to wrap our collective imagination around: The Marriage. 

The Clark-Lois-Superman Triangle — 

“Clark loves Lois. 

Lois loves Superman. 

Superman loves Clark,”

 as Elliot S. Maggin put it in his intelligent, charming Superman novel Miracle Monday — seemed intrinsic to the appeal of the stories, but none of us wanted to simply undo the relationship using sorcery, or “Memory Wipes,” or any other of the hundreds of cheap and unlikely magic-wand plot devices we could have dredged up from the bottom of the barrel.”

- Grant Morrison,

SuperGods

“Here’s another horrifying example, an aspect of American culture, The Continued Pussification of The American Male in the form of 
Harley Davidson Theme Restaurants. 

What the fuck is going on here? 
Harley Davidson used to mean something. 

It stood for biker attitude; grimy outlaws in their sweaty mamas full of beer and crank, rolling around on Harleys, looking for a Good Time – Destroying Property, Raping Teenagers, and Killing Policemen… 
All very necessary activities by the way. 

 

 

"And I wonder, too, like how much of the antipathy towards. . . 

These are dark musings. And I would say, how much of the antipathy towards men that’s being generated by, say, college-age women is deep repugnance for the role that they’ve been designed, and a disappointment with the men. . . You know, you think of those. . . I can’t remember the culture. 

The basic marital routine was to ride into The Village and grab the bride and run away with her on a horse. 

It’s like the motorcycle gang member who rips the too-naive girl out of the bosom of her family. 

Paglia: Yeah, there used to be Bride Stealing. It was quite widespread. 

Peterson: Right, so I kind of wonder if part of the reason that modern university women aren’t so angry is because that fundamental Feminine Role is actually being denied to them. 

And they’re objecting to that at a really, really fundamental level. 

Like a level of Primitive Outrage.

 

“There's Two Things that the Postmodern NeoMarxists are full-scale assaulting :

One is Categorisation, because They believe that 

The Only Function of Categorisation is POWER.

The other is,

There's a War on Competence -

Because, if you admit that there are hierarchical structures that are predicated upon Competence, 

then you have to grapple with the issue of Competence, 

and you have to grapple with the issue of Valid Hierarchy.

If All Hierarchy is Power

and

All Power is Corrupt

and

All Corrupt Power is Tyranny

then, you can't admit to Competence.

But the downside is, there's a terrible price to be paid for that, because 

Every Value System Produces a Hierarchy.

So if you dispense with the hierarchy, 

You dispense with The Value Systems.

“The rise of the new feminism, the protest movements of ethnic, national and sexual minorities, the anti-institutional ecology struggles waged by marginalized layers of the population, the anti-nuclear movement, the atypical forms of social struggle in countries on the capitalist periphery — all these imply an extension of social conflictuality to a wide range of areas, which creates the potential, but no more than the potential, for an advance towards more free, democratic and egalitarian societies.”

The Point is that these new Groups of People could be Useful.

Douglas Murray,

The Madness of Crowds

[We finally find Peter lying on a mat and doing sit-ups. Ned is holding his legs in place for him.]

Ned:

Hey, can I be your 

Guy in The Chair?

Peter:

What?

Ned:

Yeah. You know how there’s 

A Guy With a Headset

Telling The Other Guy Where to Go?

[Peter’s face contorts into a weird expression. He is still doing sit-ups faster than any other student.]

Ned:

Like, like if you’re stuck in a burning building, I could tell you where to go. 

Because there’d be screens around me, and I could, you know, swivel around, and... 

‘Cause I could be your 

Guy in The Chair.

Peter:

Ned, 

I don’t need a Guy in The Chair.

Coach Wilson: 

Looking good, Parker.

[The teacher points at Peter as he passes the mat that Peter and Ned are working out on. Peter glances at him, then frowns and takes a huffing breath, trying to look as if the exercise is really taking a toll on him.]

“That’s another issue I want to bring up, because one of the things I cannot figure out is the alliance between the postmodernists and the neo-Marxists. 

I can’t understand the causal relationship.

 

Tell me if you disagree with this, okay, because I’m a psychologist, not a sociologist. 

 

So I’m dabbling in things that are outside of my field of expertise. And there is some danger in that.

But The Central Postmodernist Claim seems to me that because there’s a near infinite number of ways to interpret a complex set of phenomena - which actually happens to be the case - you can’t make a case that any of those modes of interpretation are canonical. 

 

And so, if they’re not canonical, and if that canonical element isn’t based in some kind of Reality, then it serves some Other Master.

And so The Master that it hypothetically serves for The Postmodernists is  

Nothing but Power, 

because that seems to be Everything That They Believe in. 

They Don’t Believe in Competence. 

They Don’t Believe in Authority. 

They Don’t seem to Believe in 

An Objective World, 

because everything is language-mediated. 

So it’s an extraordinarily cynical

perspective: that because there’s an infinite number of interpretations, none of them

are canonical. 

You can attribute everything to 

Power and Dominance.

Does that seem like a reasonable summary of the postmodern. . .

Paglia:

Yes, exactly. 

It’s a Radical Relativism.

Peterson:

Okay, it’s a Radical Relativism. 

Now, but The Strange Thing is, despite. . .

Okay, and so what goes along with that is the demolition of Grand Narratives. 

So that would be associated, for example, with the rejection of thinkers like Jung and Erich Neumann, because of course they’re foundational thinkers in relationship to the idea that there are embodied Grand Narratives. 

That’s never touched.

But then, despite the fact that the Grand Narrative is rejected, there’s a neo-Marxism that’s tightly, tightly allied with postmodernism that also seems to shade into this strange Identity Politics. 

And I don’t. . . Two things. 

I don’t understand 

the causal relationship there. 

The Skeptical Part of me thinks that Postmodernism was an

intellectual. . . 

It’s intellectual camouflage for the continuation of the kind of pathological Marxism that produced the Soviet Union, and has no independent existence as an intellectual field whatsoever. 

But I still can’t understand how The Postmodernists can make the “no grand narrative” claim, but then immerse themselves in this Grand Narrative without anyone pointing out the self-evident contradictions. 

I don’t understand that. 

So What Do You Think About That?

Gamora: 

What was that story you once told me about Zardu Hasselfrau?

Quill: 

Who?

Gamora: 

He owned a magic boat?

Quill: [long pause] 

David Hasselhoff....?

Gamora: 

Right.

Quill: 

Not a Magic Boat — 

A Talking CAR.

Gamora: 

Why did The Car talk again...?

Quill: 

To help him FIGHT •CRIME•, 

and to be •supportive•!

Gamora: 

As a child, you would carry his picture in your pocket… and you would tell all the other children… that he was your father, but that he was out of town.....

Quill: 

...shooting Knight Rider or touring with his band in Germany. 

I told you that when I was drunk. 

Why are you bringing that up now?

Gamora: 

I •love• that story.

Quill: 

I •hate• that story. It’s so •sad•...!

As a kid, I used to see all the other kids off playing catch with their dad. 

And I wanted that, more than anything in The World!

Gamora: 

That’s my point, Peter. 

What if this man is your Hasselhoff? 

If he ends up being Evil… 

We will just kill him.

TRUMPISM

“It’s a Strategy of Power that keeps any opposition constantly confused — a ceaseless shapeshifting, which is unstoppable, because it is indefinable.”

You imagine this halfwit “Mike”, this non-entity’s hate matches mine?

You presume I have no creed?

My creed is LUTHOR.

BRIEFING

To understand Trump, an AI bot had to be de-programmed from using English grammar. It uses 11 million words from Trump's remarks to tell when he's angry or lying

JAKE LAHUT

MAY 8, 2020, 11:30 PM

Trump’s stress levels are monitored by the bot, and even his skin tone has been considered — were it not for a lack of quality footage.

President Donald Trump’s unique speaking style – particularly his penchant to go on never ending tangents – crashed an AI robot trained to recognise patterns in speech.

A Virginia man worked with a scientist with a PhD in machine punctuation to deprogram the bot from using correct English syntax and grammar, instead programming it to understand Trump, according to a Los Angeles Times profile.

Margaret, named after the meticulous West Wing character, has since evolved into a sophisticated AI system that catalogues all of Trump’s speeches and tweets, using more than 11 million of the president’s words since 1976 to understand and predict his speech patterns.

Amazon uses the bot to help with Trump queries on its Alexa devices, and Margaret can even run analyses on whether Trump is angry or lying based on his tone of voice, pace of speech and gestures.

Margaret has found he’s less stressful when lying, and stops gesturing when he gets mad.

Whenever it seems like it’s too hard to keep track of everything President Donald Trump is saying, now there’s a bot for that.

Margaret, named after the meticulous West Wing character, catalogues all of Trump’s spoken words, tweets and other utterances to compile in its database – more than 11 million of the president’s words dating back to 1976.

A new Los Angeles Times profile of its creator, Bill Frischling, traces the history of the bot, which is used by Amazon for help with Trump-related queries on its Alexa devices.

The AI network is also available online for users to search through.

The bot can predict whether Trump is lying, if he’s mad, and how stressed he is whenever speaking on camera.

In Frischling’s telling, he faced unique challenges getting Margaret to figure out what, exactly, Trump was saying – much less whether he was telling the truth.

“It was still trying to punctuate it like it was English, versus trying to punctuate it like it was Trump,” Frischling told the LA Times.

One passage of a Trump speech was such a tangled mess of never ending tangents and clauses that the bot crashed.

Frischling, a 48-year-old self-taught coder from Great Falls, Va., brought in a scientist with a PhD in machine punctuation to help him out.

They ended up deprogramming Margaret from relying on correct English syntax and grammar, instead focusing on how to uniquely understand Trump.

“Every word he says makes Margaret smarter and allows her to make more subtle distinctions,” Frischling said.

By monitoring Trump’s stress levels and gestures on camera, Margaret compares his statements to independent fact checks to determine whether he’s lying.

Frischling noted that unlike most people, Trump is less stressed when lying.

Studying these kind of tells is increasingly of interest in the AI community, according to Frischling, especially when it comes to world leaders. Frischling added that he also studies members of Congress using the same technology, and shares the findings with private clients.

Trump speaks at 220 words per-minute when he’s not reading off a teleprompter, which is close to double the national average for Americans speaking extemporaneously. But he slows down on the prompter to around 111 words per minute.

Unlike most members of Congress, Trump addresses so many topics at once that it’s harder to tell when he may change a policy position or forecast other shifts, according to Frischling.

And when Trump gets mad, he simply stops gesturing.

“When he stops making gestures, that’s the – watch out,” Frischling said. “Whatever’s about to happen, hang on to your tush.”

Bill Gates and the Population Control Grid

TRANSCRIPT AND SOURCES: https://www.corbettreport.com/gates 

The takeover of public health that we have documented in How Bill Gates Monopolized Global Health and the remarkably brazen push to vaccinate everyone on the planet that we have documented in Bill Gates' Plan to Vaccinate the World was not, at base, about money. 

The unimaginable wealth that Gates has accrued is now being used to purchase something much more useful: CONTROL.

Control not just of the global health bodies that can coordinate a worldwide vaccination program, or the governments that will mandate such an unprecedented campaign, but control over the global population itself.

DARK WINTER

 Welcome back to New World Next Week — the video series from Corbett Report and Media Monarchy that covers some of the most important developments in open source intelligence news. This week: 

 Story #1: Ousted Whistleblower Warns of “Darkest Winter In Modern History” https://bit.ly/2WWltgD 

 Ousted Vaccine Chief Bright to Warn “Window of Opportunity Is Closing" for Virus Response https://bit.ly/2yKQ0Gv 

 PDF: “Scientific Integrity in the COVID-19 

Response - Statement of Rick Bright, Ph.D” 

https://bit.ly/2WVKHvI 

Colleagues Paint Mixed Picture of Ousted Vaccine Chief 

https://politi.co/2LnHNL1 

 ’Dead Zone’ TV Episode 'Plague' From 2003: Coronavirus From China, Chloroquine As Treatment https://bit.ly/3fMoHMr 

“Operation Dark Winter” Videos (Jun. 22-23, 2001) 

https://bit.ly/2T5aWPd 

 Story #2: Bars, Restaurants Allowed To Reopen If They Agree To Snitch On Customers 

https://bit.ly/2YYXksE 

Washington State Restaurants Will Have to Keep Log of Customers to Aid in Contact Tracing 

https://bit.ly/2T2CLI1 

Kansas County Orders Businesses to Track Customers; Lawsuit Calls That Unconstitutional https://bit.ly/3bvGBzy 

Tesla’s Elon Musk Defies Government Orders in an Act of Economic Civil Disobedience 

https://bit.ly/2WsuyyX  

Opposing Lockdown Is NOT “Profits Before People” 

https://bit.ly/2T2FHnY 

Story #3: The Age Of ‘Rona Has ’Black Mirror’ Creator Writing Comedies Instead 

https://bit.ly/2T1ZDYc 

 BBC Two Confirms Charlie Brooker’s ‘Antiviral Wipe’ 

https://bit.ly/2WUqwhJ 

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