The following synopsis for the January 3, 2025, broadcast of Infinite Plane (Saturn Day) summarizes the host’s analysis of media manipulation, the launch of a new collaborative project, and a critique of the “world stage.”
Synopsis
In this episode, the host outlines the mission of The Great Deconstruction, a community-driven project intended to map a parallel timeline of historical and media events from the last century. Moving away from the “noise” and “garbage content” of typical alt-media and “Trutherville” cults, the broadcast emphasizes a transition from using terms like “hoaxes” or “psyops” toward a more sophisticated understanding of “history bending”. The host argues that major news events—ranging from the arrest of Venezuela’s president to the shooting in Butler, Pennsylvania—are theatrical productions scripted in advance and executed by actors and directors. By analyzing the “invisible prison” of media through a skeptical lens rather than a credulous one, the show aims to provide a foundation for those seeking to move “off world stage”.
Key Discussion Topics
The Great Deconstruction and Whiteboard Series: The launch of a group project to create a foundational diagram and timeline showing the “program” that has been implemented for nearly 100 years, supplemented by a series of visual “whiteboard” talks designed to articulate complex concepts like predictive concurrent programming to the public.
The World Stage as Scripted Theater: A deep dive into the “secondary timeline” where fake and staged events are superimposed over reality, treating major political figures as “made-to-order” archetypes and noting that upcoming “historic events” for the year are already written and rehearsed.
Critique of “Gatekept” Independent Journalism: A dismissal of figures like James O’Keefe and organizations like Project Veritas as establishment-controlled “independent” journalists who focus on theatrical costumes and drunken whistleblowers while avoiding the “real things that matter,” such as crisis actors and simulated events.
Space as Allegory and Worldview Warfare: Re-evaluating NASA and the space program not as scientific endeavors, but as “inner space” psychological operations and “ceremonial magic” designed to promote a “Trojan horse” for global environmentalism and a collectivist “space communism”.
Moving Beyond the “False Binary” of Flat Earth: Reflecting on the “Infinite Plane” concept as a way to escape the limited “flat vs. round” debate, which the host suggests was hijacked by controlled opposition and “lore-based” religious cults to discredit genuine media skepticism.
Key Quotes
“The Great Deconstruction is what we’re doing, what we’re creating to provide a starting point for anybody who reaches this.”
“These aren’t mere hoaxes; these are historic events which become permanent facets of the world stage... The place where fiction and reality are seamlessly merged.”
“Mass media is a liar. That’s the job. Its job is to conform you, not to inform you.”
“We’re not just connecting dots... what we’re doing is we’re providing something without any of the noise.”
“Theater as a tool of governance... we can see the results of what has been done with very mundane means.”
The primary purpose of the Great Deconstruction project is to provide a foundational starting point and “parallel media” framework for individuals who have moved “off world stage”. Rather than merely “connecting dots” like traditional conspiracy theorists, the project aims to systematize nearly 100 years of media history into a definitive timeline, diagram, and chart.
Key objectives and insights from the sources include:
Mapping the “Program”: The project seeks to illustrate the specific “program” that has been implemented for decades, superimposing a hyper reality of staged and simulated events over actual reality.
Eliminating “Noise”: A major goal is to provide a clear perspective “without any of the noise,” specifically distancing itself from the “garbage content,” numerology, and meaningless connections often found in the “alt media ecosystem” or “Trutherville”.
Analyzing “History Bending”: The project transitions away from viewing media events as “mere hoaxes” and instead focuses on “history bending,” where theatrical productions are turned into permanent, “historic” facets of the world stage.
Establishing Testable Models: The project is designed to be skeptical and analytical rather than credulous, relying on “what we know” rather than assumptions to create a “workable model” with high explanatory value.
Investigating Agency and Awareness: It investigates the compartmentalization of these operations, asking “who knows what” to determine which actors, directors, or influencers are “in the know” and which are merely insulated within the program.
Ultimately, the Great Deconstruction serves as a “group project” to unveil the implications of a manufactured history and provide the visual and conceptual tools necessary to articulate the existence of an “invisible prison” of media manipulation to the public.
To understand this more clearly, one might think of the Great Deconstruction as creating a blueprint for an invisible prison; it doesn’t just claim the walls are there but seeks to map every corridor and guard post to show exactly how the structure was built.
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