The Story Wars of Hot Political Issues

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Found on the interwebs, a Periodic Table of Storytelling:



This Clickable Periodic Table of Tropes is the Holy Grail of Storytelling Resources


Sometimes you find things during your internet adventures that make your heart swell with appreciation and nerdy delight for the glory of cyberspace. This is by far one of the coolest things I've ever found -- and it doesn't hurt that its an incredibly helpful compendium of storytelling knowledge that is easier (and more fun) to navigate that flipping back to the table of contents in a screenwriting book.

Created by artist James Harris, The Periodic Table of Storytelling is designed just like the tabular arrangement of the chemical elements, except instead of being organized in groups of alkali metals and noble gases, you've got plot devices and archetypes. Harris included everything, like the different villain and hero archetypes, character modifiers, story structure, and setting/laws/plots. Every story element square is clickable and takes you to its wiki page on TV Tropes, which explains the trope in detail.

And if that's not enough, Harris includes 10 "simple story molecules" that can be formed when you combine certain story elements. So, if you're a science nerd (redundant) and a screenwriter, you'll just be in absolute heaven when you start playing around with this.

Periodic Table of Storytelling (

Edited by william.scherk
Added blurb from a screenwriting site; added direct link
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That's cute.

I read through it. It's not scientific in any manner, though. It's mostly an arbitrary collection of archetypes and tropes that in no way is exhaustive, or even fundamental for that matter.

So I don't see it as a resource for making effective propaganda for story wars except, maybe, for brainstorming to jazz up an idea.


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On 6/20/2021 at 11:41 AM, Michael Stuart Kelly said:
On 6/20/2021 at 9:31 AM, william.scherk said:

Periodic Table of Storytelling (

I read through it. It's not scientific in any manner, though. It's mostly an arbitrary collection of archetypes and tropes that in no way is exhaustive, or even fundamental for that matter.

The table seems built via example pages from TV Tropes, which can be quite a fun resource or depository of instances found in the arts and metiers (from literature through theatre, TV and cinema to video games to comics, fan-fiction, manga and anime and more). I fell down the hole on a couple of items from the table -- eg Hj, Hero'sJourney and Dyn, Dynamic Character.

On 6/20/2021 at 11:41 AM, Michael Stuart Kelly said:

So I don't see it as a resource for making effective propaganda for story wars except, maybe, for brainstorming to jazz up an idea.

You are right. I could have taken more time to find an appropriate topic thread.

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  • 2 months later...

Here is the new vehicle of story war propaganda: video games. 


Commentary The Chinese regime is using video games, the virtual equivalent of opium, to spread powerful, carefully crafted ...

(If there is a paywall, use this link.)


In the late 1980s, when Joseph Nye coined the term ‘soft power,’ one wonders if he ever imagined a day when video games would become weapons of mass persuasion. Probably not. But they most definitely have. Last year, the video game industry brought in more revenue than the movie and the sports industries combined. I reached out to Professor Nye for comment on the matter. “Soft power,” said the legendary political theorist, is nothing more than “the ability to get what you want through attraction rather than coercion or payment.” For over half a century, “Hollywood films” have filled this role. Today, though, “video games” can take Hollywood’s place.

. . .

As we spend an increasing amount of time online, video games are fast becoming an effective means of controlling young, malleable minds. The United States, one of the biggest consumers of video games in the world, is home to more than 100 million gamers, many of whom spend up to 12 hours each day online.

Movies, once the most influential medium of impression management, have largely lost their appeal. If in doubt, consider the Oscars, which has become a TV ratings disaster of epic proportions. The likes of Tom Cruise, Leonardo DiCaprio, Scarlett Johansson, Matt Damon, and Margot Robbie simply can’t compete with the likes of Blaze, Peely, Fishstick, Midas, and Astro Jack, all fictional characters who continue to wow 3.24 billion gamers worldwide. Yes, almost half the world’s population are gamers—a fact that is not lost on the Chinese regime.

The Chinese obviously collect data through videogames, but it would be interesting to find out the story mechanisms they use to embed their propaganda. Especially when they target young minds that are still in biological development.


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3 hours ago, Michael Stuart Kelly said:

Here is the new vehicle of story war propaganda: video games. 


Commentary The Chinese regime is using video games, the virtual equivalent of opium, to spread powerful, carefully crafted ...

(If there is a paywall, use this link.)

The Chinese obviously collect data through videogames, but it would be interesting to find out the story mechanisms they use to embed their propaganda. Especially when they target young minds that are still in biological development.


The funny thing is that this is nothing new; SOUTH PARK was calling this out, what, 10 years or so ago [edit: nope, 20 years] , with their Pokemon episode...(although with Japan instead of China...though they do address China with the "City Wok" episodes...)



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It almost follows the Marxist indoctrination timeline of American schoolchildren through public schools, whatcha think?


The good news for me is that Millennials, the lost generation, are turning out to be a hell of a lot more resilient against their indoctrination than I feared earlier.

Oh, there are plenty still lost (and some are real fruitcakes :) ). But there is this huge common sense contingency arising that is making me proud of them. That goes also for the generation that followed them.

I'm tempted to call these young people "the no bullshit generation." 

But then again, the moment I start doing that, we all know that they will come with some rip-roaring bullshit and they will pile it high. :) 

So I'll just make my comment and leave it at that. I'll champion them after I'm more confident of their core.

But, at least, I'm a believer right now. Before I wasn't. I was saddened beyond belief.

Long live the good in the human soul. May it always transcend generations.


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  • 5 weeks later...

Here is a fascinating way to look at story wars: Mass Formation.

Here is the same video on a BitChute channel for obvious reasons.


Published: Sept 22, 2021 Source: Does it sometimes feel like you’re surrounded by people who’ve been hypnotised in some way? Well, maybe you...


I have a feeling I am going to like diving into the ideas of Mattias Desmet.

He said there are four psychological and social conditions for a totalitarian narrative to take over society:

1. There has to be a lot of people who feel a lack of social bonds and lack of social connectedness.

2. A lot of people who feel a lack of meaning-making.

3. A lot of people who feel a free-floating anxiety, meaning an anxiety from within that is not connected to a mental representation of an object out in reality.

4. A lot of people who feel a free-floating frustration and aggression.

Once people are in this state, when a source credible to them offers them a concrete object to blame for their free-floating anxiety, frustration and aggression, they already have juiced-up emotions to go along with it and plug into it. That will lead to them creating social bonds with people who think the same and the emerging group will give them a sense of meaning in the making.

This is powerful shit.

Desmet calls this a state of collective hypnosis. 

I'm going to think on this some, but off the top of my head, I now see why an avalanche of stories that attack beloved traditions and icons and beliefs are always present before a mass lunacy emerges.

The way many people in O-Land try to convince others to change their minds goes something like this:

1. They find the truth in Rand's works and arguments. 
2. They present this truth to people who believe the contrary and hammer it.
3. They get frustrated because they don't convince people other than those who already agree.
4. The complain about the world going to hell.


The correct sequence would be to:

1. Choose the truth they want to persuade others to adopt.
2. Analyze their target audience and filter for ideas (contrary or otherwise) that contain emotional loads of anxiety, frustration and aggressiveness. List and study these ideas from this lens.
3. Present stories and scenarios that cause people to doubt and dislodge from those ideas, but keep their anxiety, frustration and aggressiveness high and in a free-floating manner.
4. Present a new villain that can be easily seen and/or imagined as a cause for their anxiety, frustration and aggressiveness.
5. Then appeal to reasoned arguments about the truth they want to tell that solves everything.

Obviously, this villain has to be one that opposes, or is incongruent with, the truth they want to tell.

But the sequence in a simplified form--and in vastly different language--is create floating unhappiness and misery in people, get them to blame a scapegoat for it, then lead them to the promised land. It has to be in that order, otherwise it doesn't work.

Hell, from a different angle, this is a plot-line for a friggin' novel.


Off the top of my head once again, I see this pattern is in Atlas Shrugged. Rand got the anxious, frustrated and aggressive parts of her fictional world disconnected from concrete causes and let them float ("Whos is John Galt?"), she then scapegoated altruism and presented a lot of concrete examples of how it caused anxiety, frustration and aggression, then off to the reason-based promised land (after a massive "this is why altruism sucks" speech).

Obviously this analysis needs a little work. :) But still, the big parts are there and in the right order. I think that is part of why her novel is so persuasive. She didn't just get the reasoned arguments right. She nailed the emotional sequence of authoritarian takeovers of society (and then used it to shake off authoritarianism).

More later as I learn.

But watch the video.

I only gave a small part of the goodness in it along with my brainstorming.


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  • 2 months later...

This is one of the most important posts on story for political persuasion I have made to date.

It's a video by James Corbett called Writing A New Narrative - #SolutionsWatch.

I found this so compelling, I made a transcript of it, which I am posting here.

I would like to comment on this, but James is so clear and articulate, I don't want to muddle his ideas. Leave it to say I have basically been saying the same thing for years in different words, and admittedly, with less precision and simplicity.

So I will let James speak.

But if you can spend the half-hour watching the video, or listening to the audio, or if you can read the transcript, I cannot recommend enough that you do so. This one changes lives.


Here is the video and audio and show notes on James Corbett's site. Please note that he refers to other works as he goes along and links to all of them are at the link below.

Writing A New Narrative - #SolutionsWatch.


Here is the video by itself at Bitchute:


SHOW NOTES AND MP3: Do you know the story of the most powerful weapon in the world? It's used against...


And here is my transcript. Note that I did not check it for errors, so you might find a few. If I ever do anything more important with this transcript, like send it to James, I will clean it up with another pass or two.



CORBETT: Welcome back friends. Welcome back to the Corbett Report. I'm James Corbett of and, yes, I did break my glasses while camping with my family this past weekend. So these are my old glasses until my new glasses are ready. 

That being said you are tuned into Solutions Watch, that deprogram where week after week after week we look at ways that you can improve your life and change the world for the better. 

And as you know by now, sometimes we look at the very specific technical things that can be done such as, as we talked about with Bob Anderson last week, gaining greater energy independence through solar power and other such methods. This week we're going to look at the other side of the coin: the big picture abstract philosophical ideas about how we can change the world. 

And, on that note, I want to pick up on something that I hope you will have noticed that I remarked on in last week's conversation on The Grand Theft World podcast where we were talking about some of the bigger issues that we are facing as a species.

CORBETT (from earlier The Grand Theft World podcast): The key to this is to stop following the narratives that are being set for us and start creating our narrative. And people don't understand. And that was actually the best piece of feedback... I got a lot of good feedback from that course I just taught on media history. But the best piece of feedback I got was, "You know, I've thought about this before and I've read some of these sources, but I've never really... It's never really struck me just how important the story--the stories that we're being fed--is to our understanding of the world, and to everything that that makes us who we are and what we're going to do in the world.

When we start creating our own narratives rather than simply accepting the ones that are given to us, I think that's when we start to build real autonomy.

CORBETT (now): Narratives!? Storytelling!? What are you talkin' about, James? When the Super-Gophers with their fancy titles gather in their big conference halls to  decide how to divvy up the world, they're not talking about storytelling and narratives, are they?

KLAUS SCHWAB: Excellencies. The participants. What pleasure to be together again and to design the future. 

We are here to where it develops a great narrative: the story for the future. and I would like to refer at His Highness, Sheikh Mohammed bin Rashid Al Maktoum, the Vice-Chairman and Prime Minister of United Arab Emirates and the ruler of Dubai, who told us that in order to shape the future, you have first to imagine the future, you have to design future, and then you have to execute.

CORBETT: Oh. That's right. That's exactly what they're talking about. Storytelling and narrative. The Klaus Schwab's and the Muhammad Abdullah Al Gergawi's, and the other would be controllers of this new world order, do spend their time thinking about the narratives that shape society and how to bring those narratives about. To execute them--to use that word. 

And so full credit for digging up this clip in this conference should go to Derrick Broze, who brought it to the attention of myself and his audience in general in a recent article that was written and posted up on the last a couple of weeks ago: "The Great Narrative And The Metaverse, Part 1: A Dystopian Vision Of The Future." 

And Derrick Rose starts that by setting the scene for what it is that we just witnessed there, that bizarre scene. He says: 

As the World Economic Forum prepares for the return of their annual meeting in Davos, Switzerland, the "international organization for Public-Private cooperation" is launching the next phase of The Great Reset agenda - The Great Narrative. 

On November 11th and 12th, the World Economic Forum held a 2 day meeting called "The Great Narrative" in Dubai, United Arab Emirates to discuss "longer-term perspectives" and "co-create a narrative that can help guide the creation of a more resilient, inclusive and sustainable vision for our collective future."

The WEF gathered futurists, scientists and philosophers from around the world to dream up their vision of how to reset the world and imagine what it would look like in the next 50 years. The discussions will be collected and published in a forthcoming book, "The Great Narrative" in January 2022. 

And I'm sure we're all on the edge of our seats looking forward to that book, aren't we? Well, maybe for its value in understanding the propaganda that we're about to be subjected to, but I wouldn't necessarily recommended it as light bedtime reading. But, maybe, that's the point. 

Once again I will commend that full article to your attention. I think Derrick does a great job of not only describing what is happening there, but also setting it in its proper context: the broader story of what it is that we are being steeped into, and how that is happening, and for what purpose. And, also, I'll direct your attention to an interview that Ryan Christian of the Last American Vagabond did with Derrick on this subject a week or two ago--very important conversation in order to understand this extremely important fundamental concept that has been ecluded from our attention, or has been dismissed as woo-woo, or that's not important, precisely because the would-be controllers of society know just how important the narrative mechanism is for shaping society.

This is, in one seemingly trivial example, this is the reason that advertisers do not sit there and list all of the merits of their particular product: "Here are the functions and here are the various things that it can do, and here are the various functions of the competing product, and let's do some statistical and scientific analysis and you see our product is slightly better in this regard, so we we recommend this product."

No! Of course not. 

They show you the guy getting into the SUV and driving out into the country roads, kicking up dust with the cool soundtrack in the background, or they show the guy opening the beer and suddenly he's on a on a beach and there's a party with bikini clad girls everywhere, or whatever it is. The ad will make you laugh. It might even make you cry. And then they bind that emotional resonance up with their product in order to sell it to you. 

This is not a logical argument that they're making, and it's not just advertising that does that. This is a well-known way to shape people's perceptions of the world and, thus, to shape their behavior, thereby actually changing the world. 

This is the point that I've tried to stress time-and-time again throughout my work over the years. Perhaps, most to the point, most on the nose, in an article that I wrote one year ago in November of 2020 called "How to Save the World in One Easy Step," which starts by posing the question: POP QUIZ--What's the most powerful weapon ever invented? 

And I go through some elaboration of some potential answers to that question, and then start to introduce the subject, and eventually arrived at this point in the article where I say, "Story is the most powerful weapon. Narrative. Ideas presented in such a way as to provoke certain thoughts or actions. With a gun, you can kill a man. With a bomb, you can kill a family. With a nuke, you can can level a city. But with a story, you can control the world.

"This is how billions of people around the world have been locked up as prisoners in their own homes this past year. Not because there is an inexhaustible supply of police thugs standing on every street corner ready to shoot anyone who steps outside of their home, but because a narrative has been constructed such that the vast majority want to stay home. Give a society the right narrative and they will gladly lock themselves inside their own prison and hand over the key. 

"This is why billions around the globe are prepared to roll up their sleeves for an experimental, unproven "vaccine" for a disease with a 99% survival rate. The masses have been given a narrative whereby this "vaccine" is going to deliver them from a deadly plague. It doesn't matter what counter-evidence is presented to them; the ones who take the vaccine are the righteous heroes of this story, and those who question the vaccines are the villains."

And, lo and behold, here we are in 2021 and Noam Chomsky and others are telling you exactly that: Oh, these horrible, evil self-centered people who won't take the experimental medical intervention. They deserve to be shunned on to some island somewhere and how they live or die is up to them. Whatever. We'll forget about them. They are the villains in the story and, as we see, it's being ramped up and up and up so that the narrative is being inserted into the population right now. 

And try logically arguing against that narrative. Go on. Try. I'll hold my breath and wait for that.

[Corbett sucks in air and a card comes up: One Eternity Later.]

CORBETT: Oooohhh... I died. 

Yeah. The people who argue about, "Oh well. I mean look at this chart. This chart shows that mask mandates have no effect on spreading of any disease." 

Or, "Oh, look at this. The vaccination rates are directly tied to surges in what we perceive as COVID. Look at that. Amazing. Huh?" 

You can point statistical analyses and charts out till you are blue in the face and it will make zero difference in the minds of ninety-nine percent of the population precisely because they have a narrative by which they understand any piece of evidence that is presented to them. 

This is something that, of course, I went over in #propagandawatch last year on "Same Facts, Opposite Conclusions," an extremely important thing to understand. You can present the data to someone, but if they have a narrative perception, they have a story in their minds about what is taking place, they will be able to fit that data into their story almost every single time, even if it's exactly opposite to what you perceive to be reality. 

So this is why it is so important to understand. Because people will argue till they're blue in the face and present data and evidence as if that is going to fundamentally change people's way of perceiving the world. It is not.

But, having said that, this is not "Problems Watch." This is "Solutions Watch." So the question becomes: What do we do with this insight? What can we actually do to help shape people's perceptions in a different way? 

And I think the most basic, the most obvious way of understanding that in this question of narratives and creating narratives in order to change the world and the future, is through the most literal basic interpretation of that idea: narrative. What is a narrative? Uh... it's a story. Like fiction, right? Like poetry. Whatever. 

That the ways people have communicated and embedded ideas for thousands of years, some of those ideas have persisted in our general understanding for thousands of years precisely because they were embedded in stories that then get remembered. 

The human species has been telling stories to each other for umpteen generations, sitting around campfires or whatever, and it is not just because we are a storytelling species, that is an extremely important part of what we do, but because we embed information in those stories. We understand the world through those stories. And we often think of stories when we are struggling to understand a concept. 

How many times have you tried to explain something to someone--and it's red pill, blue pill. Where did that come from? Oh, The Matrix. 

Or, oh it's Cipher in The Matrix saying, "I know this steak isn't real, but mmm,. it tastes so good anyway."

It's the ring, the ring of power. If you put the ring on, it will corrupt you. 

All of these ideas that we have embedded and we can use as the cultural touchstone to make people understand what it is we're saying. 

It's extremely important concept. So I would suggest that the entire "Film. Literature and The New World Order" series is, obviously, relevant to this discussion. So if you haven't been through that podcast, I would suggest you do so. There are 42 episodes going through different pieces of literature, different pieces of cinema, examining those stories for the way that they not only reveal things about the world, but then, also, shape our perceptions about the world and how we can change it. 

I will specifically commend in this regard Episode 42, the most recent edition of that series, where I looked at Aesop's Fables.

CORBETT (in earlier podcast about Aesop's Fables): That's right. Like, I hope every good father out there, I do read to my children every night before they go to sleep. And they love books and they love reading or they love being read to at this point. So that's good and I enjoy doing it. 

But in fact this may be more than just enjoyment. Sometimes there is wisdom and knowledge to be gained from children's bedtime story time, especially when we're talking about something like Aesop's Fables.

Now, of course this does represent--in a translated in truncated form and designed for children with nice illustrations... But it does represent knowledge, wisdom that has been around for thousands of years--twenty-five hundred or so years if we are to believe Aesop was an actual historical personage and all of the fables that have been attributed to him really were written by that historical personage... I don't know. I mean we're not here to adjudicate that today. 

But, at any rate, this has been around for thousands and thousands of years. And does represent very timeless knowledge that I think is still relevant to us today. And as I was going through and reading this to my children, I did notice that there were a number of fables here that really do pertain to our situation that we still find ourselves in all these thousands of years later. So, I thought I would share some of these with you and maybe just cogitate a little bit on how they reflect our current reality. 

And I wanted to start with the Fable of the Cat and the Mice. A sneaky old cat heard that a certain house was quite overrun with mice... [FADEOUT]

CORBETT (now): Now, I hope you will go and watch or re-watch that edition of "Film, Literature and the New World Order" if you haven't yet done so because I think it does demonstrate the point quite effectively that these tales, which even if you have not read Aesop's Fables, you know these tales. 

These tales have persisted for thousands of years and perhaps, more importantly, the moral of the story has persisted for thousands of years. What is the moral we're supposed to take away from this tale about foxes and whatever? 

There's always a cultural understanding, a piece of wisdom that is embedded in these stories, that are then, as I say, have been demonstrable be passed from generation to generation for thousands of years to arrive to us in the present day. That is a very, very effective way of distilling and a passing along shared cultural wisdom and understanding.

It's also, of course, an exceptionally powerful way of changing people's perceptions and understanding, and thus, changing the world. If you can embed something in a narrative that then gets passed along, then, well, there you go. You've embedded a new cultural understanding that will resound through the ages. Right? 

And you think this is a power that the would-be rulers of the New World Order are not actively using at every stage? You don't think they spend millions upon millions, billions in the aggregate, on the entertainment industry every year because, oh, it's just bread and circuses to distract the public? 

Or do you think they're doing it because they understand this is the most effective way of shaping people's perceptions of the world? 

I tend to think it's the latter. And that's exactly why we neglect or poo-poo this incredibly powerful tool to our own detriment. And this is why, throughout the years, I have consistently stated I very much support the people who are able to embed this information in different forms, in different stories, whether quite literal writing, of course. Writing fiction or epic poems or whatever. 

But, of course. that could take any number of different forms. A painting can tell a story. A sculpture can tell a story. A song can tell a story. That is one way of embedding narrative and sharing cultural wisdom. 

So I, of course, I absolutely support all the artists who are inventing this information in some form in their art. And it doesn't always have to be banging people over the head: HERE IS THE MESSAGE and THIS IS WHAT IT'S ABOUT. It doesn't have to be quite that obvious and literal. 

But, hey, sometimes that works, too. I mean, think of any number of examples... any number of examples will spring to mind: Animal Farm or 1984 or Lord of the Rings or whatever it is. And then there are more subtle ways of embedding understanding as well. And, obviously, I don't need to elaborate on that. 

But this is the point at which we arrive at the bigger picture of what's going on here. Because as I say, narrative as story in the most literal sense, like telling a story, is the most basic and straightforward way we can understand this. But there is a bigger picture here. There's a broader understanding. 

And Derrick Broze points to it in his article, for example, when he mentions metanarratives. And finally, after all these decades, my undergrad degree is going to pay off. Because I have read the post structuralist philosophers. And I have studied literary theory. And I did carry around Jean-François Lyotard's "Postmodern Condition" to my classes back in my undergrad days. 

So this is actually something I am qualified to talk about, although I probably won't in this particular episode because we're concentrating on narratives today. But I probably should do a more philosophical deep dive into the question of metanarratives and all of this. It is a fascinating topic. 

But, long story short, a metanarrative is a Grand Narrative that places our lives into a meaning and a context that gives meaning to our lives, to the world, to our understanding of who we are and our place in the world. That is the metanarrative that guides our actions. 

We all have some big story about what it is that's happening. Why we're here. What is happening to us? And what are we doing? And what is our role in all of this? Whether that is a consciously formulated metanarrative, the one that we can list out and say, "Oh, this is the big picture." 

Or, whether that's just the sort of unspoken unthought-of assumptions that guide our actions. It is there. The metanarratives that shape our lives and our understanding. And it is exceptionally important to understand that level of what is going on as well. Because shaping the metanarrative, of course, is the ultimate point of this. 

Yes. Embedding a story or a narrative here or there in the cultural consciousness can be an effective way of passing down this or that particular understanding, but in order to shape the world at large, you have to control The Metanarrative. 

And what do you think The Great Reset is? It is a metanarrative. Here is the metanarrative. We've reached this crisis point because of this and this and this. And this and this and this is happening as a result of this crisis, so we need to do this and this and this. 

And embedded all in this package, give it a title, "The Great Reset," and brand it and sell it like a tube of toothpaste or something to the general public so that people start to buy into this idea, and thereby, you can shape the world. That's why I've talked about it before. 

The World Economic Forum is just repackaging various ideas for this Grand Narrative of a New World Order. Whatever you want to call it, it doesn't particularly matter the title. But certain titles will sell better with the public in different eras. And this may be The Great Reset. Let's try that--see if that sticks to the wall. 

At any rate, it is a metanarrative that is being sold to the public right now. And in order to understand that and understand how it is that, no matter how deliberately you deconstruct that metanarrative, and you show all of the different pieces of it, and what, you know,  "they're talking about this, but they really mean this." 

It will make zero difference whatsoever. Let's take a look at a specific example of that. Let's go back to that Narrating The Future video from the World Economic Forum that we were looking at earlier, and let's look at when Gergawi takes the mic and starts telling us about why we need a new great narrative.

MUHAMMAD ABDULLAH AL GERGAWI: We need a new great narrative because we live in the world where the richest 1% have more than double the wealth of 7 billion people. Why almost half of the world's population lives under $6 a day. 

We need a new great narrative because the last 70 years were the warmest on record. We cannot afford to waste more time on an action or denial about the climate change. 

We need the new great narrative because the world has been through one of the largest economic downturns in its history. 

And we need a new great narrative because our digital world will be as important as the physical one. 

Already there are more connected devices than people in the world. And by 2025, there will be five times more devices than people on this planet.

We need the new great narrative because it will inspire both hope and action. And governments, first and foremost, are in the business of instilling hope--a business that touches 7.8 billion people who strive for a better future.

CORBETT: Do you see? Do you see what's happening? 

Try showing that clip to someone who doesn't already understand the way that these various terms and ideas and crises are being used to shape a particular agenda for the benefit of a select group of people and you will be called a crazy conspiracy theorist. Because a lot of these ideas that are embedded in "Why do we need a new great narrative?" are, of course, pieces of the narrative that has been instilled into us, propagandized into us since we were children. 

All of these sound--or are supposed to sound--like great wonderful caring things that loving shepherds of humanity, self-appointed leaders who are going to tell the world what to do, have have already told us are the problems. "And don't worry. We'll take care of it." 

So yes, there's enormous economic inequality in the world and the richest 50 people own more than 50% of the entire wealth of the world or whatever that stat is--changing on a weekly basis. We all know that because that is an important part of what they're trying to sell us. They just never quite come out and openly state the dot dot dot, "So you need to give us more power to better divvy up the economic resources of the world." 

Or, "Oh, the climate change, the weather gods, are unhappy with the things that you--not us--you are doing to the world. Therefore you need to give us more power to tell you what you can and cannot do with your lives. Hey! Here's a new carbon ration card." 

"The economic downturn, the unprecedented economic downturn that's happened during these times is a huge calamity. Yes. There's a lot of people losing their jobs, their livelihoods, the businesses that they've worked all their lives for. Right now. It is happening. Huge economic pain, dot dot dot..."

"So, give more power to shape and forge a new economic system to govern the entire world. Hey! What could go wrong? The digital Revolution is taking place. Our digital lives are becoming as important as our real lives, dot dot dot..."

"So you need to give us more power to shape the new digital environment, to make it safe for you all." 

You see? The narrative is already there and the hidden assumptions or the unstated conclusions of those premises are always, of course, the operative part of it. But as long as they can get you to swallow the the hook, then the line and sinker will go along with it. And they can get it all in one fell swoop because they know how to shape a narrative. 

Some very brilliant people have been shaping narratives that have guided your entire metanarrative, your story about the world and the way it works your entire life. And, presumably, if you are a regular member of Corbett Report audience, you have to some extent broken out of the conditioning of that metanarrative that's been placed on you. 

But, I guarantee, even if you are the wokest of the woke, in the awakened sense of that--"I know all of this"--I guarantee you know people who don't... who don't understand any of this and will listen to a speech like that, from someone like Gergawi, and say, "Yeah. Sounds good. Yeah, I agree. There is economic inequality. There is climate change. There is an economic downturn. Digital is becoming more important. Maybe we do need new solutions to these old problems... new problems for old solutions." 

So then he goes on to say, "Who will sell this narrative to the public? Who will offer them the hope? What body's role is to provide that hope to the public? Government."

"Yes. Of course. Hopium. Let's inject it in your veins. Vote for another politician, guys. That'll be the way forward into this Brave New World Order. Isn't that such a wonderful thing?"

And, of course, that very accurately sums up the nature... the government's role in the global public-private partnership that previous Corbett Report guest, Ian Davis, I think, has quite accurately identified as the new governance paradigm for the globe. 

Yes. Of course. Governments are there to sell you the hope that is being designed and formulated at these meetings that one person in a thousand, one person in a million, will ever even know anything about. The World Economic Forum, how it operates. "Oh, it has some sort of conference on Grand Narrative? Whatever." 

Most people will not understand it. And so you can calmly try to explain and, well no. You see, when they talk about sustainable development, what they really mean dah dah dah... 

And you can list it all out and give them the facts on that. But if they have The Grand Narrative in their head that, "Well this is good, and you know, we do need the United Nations and whoever to step in and help with this problem... And if you think they're doing it for any purpose other than saving the world, you are a conspiracy theorist."

That's the narrative in their head. Then there's no way of changing that with pure logic and reason. "Oh, I'll give you some facts that will change your mind on that."

And if you believe that, then you haven't quite understood what I've been talking about for some time now. Go back and rewatch. I keep bringing it up because it continues to be relevant: "Same Facts, Opposite Conclusions," which I talked about on #propagandawatch last year. That you can present the exact same set of details to someone and they will see the exact opposite thing that you do in those facts about the world because they have a different perspective on it. 

"Oh, well. You know, Lockdowns are associated with excess deaths? Well that's because lockdowns are happening in places where there would have been many more deaths if there wasn't lockdowns."

Whatever it is, there's always a mental pretzel-knot that you can tie yourself in to make the facts fit your metanarrative. 

And as another example of how metanarratives are shaped by words and terms that then become placeholders for other ideas that are never openly stated, we can see the corruption of language itself into a form of Newspeak where these terms: global, sustainable development, environmentally friendly, whatever, just become the terms by which entire narratives can be sold to the public, I will direct you for the second time in two weeks... I will direct you back to "I Am A Sustainable Free-Trade Globalist," where I make that point about the corruption of the language itself and how these terms can be made radioactive by being inserted into certain narratives that help to shape our world. 

So, if you go back... if you did watch that Grand Theft World podcast that we opened with today, you will see that the point came up and, perhaps, was false modesty on my part to say that I am not actively engaged in helping to create and shape narratives, that is , of course, exactly what it is that I do at the Corbett Report. 

Not generally in the fiction sense of writing pieces of fiction. I do occasionally engage in that in my subscriber editorials. But, more, I've done a couple of, for example, an interview with a coma patient and things like that that are more like a storytelling format for putting this information. But, generally speaking, I'm doing it in a documentary-style, or presenting information. 

But that is a narrative. That is shaping people's understanding: going from here to here to here. And I spend an awful lot of time on thinking about, for example, how to put this particular edition of Solutions Watch together, let alone every other podcast and thing that I do. I think about, "What's the right order to say this in?" And, "What clip should I use?" And, "How should I do this?" And, "How do I put it together to make it make sense to the audience?" 

And maybe I succeed, maybe I fail, but that is the work that I'm engaged in. And that is, I think, an extremely important thing to do as I point out in that Grand Theft World conversation, somewhat self-reflexively. Not just for helping to convey this information to others, but for understanding it for yourself. Until you put the data and information that you have in your head into a narrative--this, so this, therefore this, then this--when you put it into a narrative that tells a story in some sense, then you start to understand the information. 

Until that point, it's just data. It's just facts. It's just scattered information.

Until you collect it, organized it, and make it into a narrative, you don't really know what it is that you know, or what you think, or what you believe, or why you're doing what you're doing.

So it is an extremely important thing. We all create narratives every single day. We're just generally not conscious of it. 

I think we should become conscious of it. And we should actively practice this art of putting things into narrative format to help people understand something... to lead people from this to this to this... so that they understand information rather than bombarding them with information.

At the risk of bombarding you with information, I think I will stop this episode here, having introduced, I hope, this concept, this idea. And the incredible importance of it. This is a weapon that is being wielded against you, so I highly suggest that it is in our interest to understand this weapon and how it is deployed, and to use it defensively to help shape our own metanarrative--of what it is we want to achieve in the world, and how we're going to execute that plan. 

That is an extremely important thing to do and we poo-poo it to our own detriment. 

So I will leave you today with some more words from that aforementioned "How To Save The World In One Easy Step" article that I wrote last year, where I concluded by saying, "Whoever it is that brings this message to the world," this message of a different way of looking at the Grand Narrative they're shoving down our throat, "and whatever form that message takes, it will appear as a revelation; as an answer that's been sitting there under our nose all along. And when that message arrives, it won't require persuasion or cajoling 

to convince the public to act. The story itself will compel the public into action. 

"I know these words will fall mostly on deaf ears. One of the narratives that the narrative controllers has implanted in us is that words are meaningless and only the armed heroics of some steroid-laden, gun-toting Rambo can save us from the bad guys.

"But those who have really studied history know better. They understand that ideas and stories are the only things that have ever changed the world."

James Corbett



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