We Need To Talk About Sand — The Climate Change Contrivance and True Reason for “Rising” Sea Levels

Before diving in, I want to emphasize something integral to understanding the reality we find ourselves trapped within. The modus operandi by which world manipulators maintain dominance while directing the course of human history is this: PROFIT FUELS EVERY AGENDA. We will revisit this concept toward the end of the essay in order to paint a very clear picture of how this M.O. plays out.

Many people are unaware that one of the most valuable commodities on Earth is sand. Not just any sand; beach sand—the type blanketing ocean floors, riverbeds and floodplains—these tiny, roughened grains are the key ingredient for creating concrete, the backbone of modern construction. The wind-blown type of sand found in deserts across the world is not useful in producing concrete because of its round shape and smoothness, which greatly reduces its function as a binding agent. This is why an elite playground like Dubai in the United Arab Emirates has been importing mass quantities of concrete-suitable sand from other countries. Dubai has also used obscene amounts of sand to literally create new islands … an act that should be considered nothing less than a crime against humanity.

Sand used in construction is at least a 70 billion dollar a year industry. However, it must be taken into account that large amounts of sand are being stolen every year and moved on the black market. It is certain that the industry far surpasses official numbers. A huge quantity is being violently pulled up from ocean floors by dredging ships, many of which are doing so illegally.

Fujian-registered dredger arrested off Kinmen for illegal sand dredging

The world has been sold a climate change narrative by mass media; a concept propelled into mainstream by the 2006 “documentary” titled ‘An Inconvenient Truth’ from, of all people, former vice president Al Gore. I place the word documentary in quotes because the information presented in that unfortunate film has been thoroughly debunked, especially the foundational claim that CO2 (carbon dioxide) is the driving force behind fluctuations in the Earth’s climate.

If you are going to sell something as a worldwide threat to humanity, it goes without saying that evidence of this threat must present itself to one degree or another in order for genuine fear and concern to develop in the mass consciousness. A major component of the climate change contrivance is rising sea levels, which promises a very real calamity for coastal populations and infrastructure. However, as is typical in this highly deceptive age of information, the terminology is deliberately misleading: “rising sea levels” suggests that the water level across the world is actually rising up, presumably due to massive amounts of ice melting in Antarctica. This is categorically false.

The truth is this: seas are ENCROACHING—not risingand this is happening because of, you guessed it, SAND (or, more accurately, the lack of it).

Sand is the natural buffer between land and sea, a perfectly designed mechanism that has operated flawlessly for thousands of years. Ocean waves rhythmically push and pull sand onto beaches across the world in a never-ending symphony, and it is this natural music that protects our land masses from what would otherwise be a constant nightmare of encroaching erosion. So what do you suppose happens when millions of tons of sand are dredged up from the ocean floors while simultaneously being stripped from beaches and riverbeds? When sand is removed from the ocean floor, sands from the beaches are necessarily pulled down to fill that void. Some of that could be offset by the slow dispersal of sand from riverbeds feeding into the sea, but that source is also being relentlessly plundered. As beach sand diminishes, the ocean begins its methodical encroachment of coastal land. This, the mainstream would have us believe, is evidence of “rising” sea levels, but no such thing is occurring.

Simply stated, the industrial farming of sand is stripping this Earth of its elegant land/sea buffering system. The outcome of this is clear: coastal regions ARE going to experience devastation. Once highly prized and expensive beach front property is going to be systematically abandoned and consumed by oceans that have always been hungry predators … predators historically kept at bay by billions upon trillions of grains of sand. And our ever diligent media will dutifully present this tragic loss of land and infrastructure as the byproduct of climate change; in other words, they will lie.

Climate is an interesting word. As most of you will recall, this supposed man-made environmental threat was not always dubbed “climate change”. Not so long ago, it was referred to as “global warming”, but this branding was aggressively abandoned, probably due to its limitations as an agent for conjuring fear and guilt; if regions experienced unusual bouts of cold this would, no doubt, cause confusion within the context of the predominant warming diatribe. Conversely, “climate change” is an open-ended term, something that the media can leverage whenever and wherever a perceived extreme occurs. But the term “climate change” is interesting for another reason:

cli·mate (klīmit)
1. the weather conditions prevailing in an area in general or over a long period.
2. a region with particular prevailing weather conditions.
3. the prevailing trend of public opinion or of another aspect of public life.

The word climate does not pertain to weather alone, but also to the prevailing trend of public opinion or of another aspect of public life. So, “climate change” speaks to a shift in mass consciousness, and this reveals the true nature of the agenda playing out across our world today. Truly, what we are experiencing is a fundamental shift in universal awareness … and this diabolically conjured awareness would have us believe that the simple act of LIVING causes harm to this home of ours. After all, it is impossible to live here without leaving in our wake some manner of “carbon footprint”, and so we have all been transformed into the villains of our time for doing nothing more than surviving via terms established long before we were born. Make no mistake, the guilt of “climate change” will be shouldered by We the People … not merely emotionally, but financially as well, and with this we are brought full circle to the modus operandi of our gracious world manipulators.

The fruition of agendas is not nearly enough for our overseers, they must also profit from our misfortune and guilt and sincere desire for a better world. While the top feeders suck billions in profits from harvesting this world’s sand, the act itself is bringing to fruition the prophecy of “climate change” in the illusory form of “rising” sea levels; a brilliant chess move, to be sure. One must step back and marvel at the potency of such forethought, such predetermined deception … to yield profit from the very thing that will convince the masses of a scientific fallacy. Can you not see the beautiful atrocity of it? The colossal wit, the sad, sad vitriol that moves our hours toward controlled calamity?

Politically, we are running toward a carbon tax, by which each of us will pay a fee based on the size of our footprint. This will be implemented in the name of curbing “climate change”, and not only will we pay it, we will demand its existence, for the sake of our sacred Earth, to safeguard the future for generations not yet born. The mastery of this sleight of hand being pulled across our eyes is, admittedly, quite breathtaking. The world manipulators profit obscenely stripping this Earth of its natural ecosystems while simultaneously convincing us that we are to blame, that we should carry the weight of consequence by shrinking toward death, cinching our belts to the brink of starvation so there might yet be hope for humanity.

If you are unable to see this game for what it is, after having it laid bare, shame on you.

We are—all of us—victims of a plot that knows the outcome decades in advance and braces for it, profiting from it like a gambler from the future who knows which teams will be victorious.

Yet … we are many and they are the corrupted few, brittle with shame mistaken for power, corroded through and through with conceit.

To break them would be a sacrifice, yes, but not so large as you might think, because their weapons are mostly vapor, their tactics made of smoke and mirrors; the one we can push through and the other we can smash with fists aimed true.

Land O’ Fakes: The Pop-culture Stew of Deceit

In those moments of inevitable frailty, I cannot help wondering what it would be like, living in an honest world.

Who would I be if I’d spent 12 years in an educational system that truly wanted me to comprehend reality … that had, with sincerity, worked to impart fundamental intellectual tools needed to navigate life toward a positive outcome?

Who would I be if art had been authentic regarding the human condition; all of those television shows and films and music albums?

Who would I be if my parents had also been brought up in a civilization rooted in truth? What might they have taught me, with their years of experience built on a solid foundation of collective wisdom?

Who might you be I wonder, sometimes, when the day stretches impossibly long and everything I must do contradicts so violently with what I should do?

Of course, asking such questions is a futile endeavor. The world we live in is NOT honest. The construct of civilization we have been born into has no desire to see us thrive as intellectually and spiritually competent beings. The world we live in is compelled—by forces I only cautiously contemplate—to pull us down into the depths of our worst inclinations … to hollows where we writhe and scream and feed every ounce of our potential to the monsters of guilt and self-loathing.

The Holly Wood Menace

Full disclosure: I admit my own addiction to the cinematic art form which, in our society, is like saying you are addicted to breathing (most insipid date question on Earth: “Do you like movies?”). The fascinating thing regarding this addiction … I am completely aware that the medium of film is a destructive liar, a false mirror, a mockery of just about everything I yearn to embody. But this is really no different than the alcoholic knowing their beverage of choice is poisonous; we imbibe anyway, and justify it half-heartedly as we push play again and again.

Most recently, I watched a new Hulu offering titled ‘The First’ starring Sean Penn. The series is a fictional depiction of humanity’s first attempt to land a five person team on the “planet” Mars; I place “planet” in quotations here because I know, through and through, that planets as defined by modern scientism do not exist. Mars is not a physical body upon which a human being can plant a flag or “science the shit out of” as Matt Damon proclaimed in ‘The Martian.’ Mars is a shimmer in the sky … possibly nothing more than an illuminated shadow of something projected from another dimension beyond our realm of perceptual understanding: See Plato’s Allegory of the Cave, a greatly misunderstood metaphor for the multi-dimensional nature of reality (a discussion for another time).

The point: Mars is not an object that exists within the arena of physical conquest; it is a chimera, one more false dream dished up by the architects of deception that seem to be in control of this puppet show we call civilization. The promotional imagery for the show speaks directly to the true nature of humanity’s attempt to set foot on the red planet; we are literally shown a rocket lifting off from the pupil of an eye. In no uncertain terms, the only place a mission to Mars will be taking place is in our mind’s eye, made real by pure imagination and a willingness to believe … one more magic trick injected into the world’s consciousness via Kubrick’s monolith, the SCREEN (see https://calcifiedlies.wordpress.com/2014/03/03/the-skeleton-key-911-the-millenium-monolith/ if you are unfamiliar with the concept of the monoliths in 2001: A Space Odyssey’s representing the screen).

The cinematic experience of ‘The First’ does an exceptional job tugging the strings of the heart. The narrative successfully envelops the viewer inside an extremely human story of the mission commander’s (Sean Penn) deeply personal struggle, a man who has failed as a husband and father while being compulsively driven to become an explorer of the so-called universe. In the show, the mission to Mars is spearheaded by Laz Ingram (Natascha McElhone), CEO of the Vista Corporation, who passionately professes that the endeavor represents, “Five people fulfilling the destiny of eight billion.”

Herein lays the fundamental problem: the aspirations of this false world are less than smoke. What is the actual cost of selling counterfeit dreams and fake heroes to the entire world? I would like nothing more than to take hold of the hand nearest mine and cheer for humanity’s determined push toward unknown worlds. My lack of belief has nothing to do with a lack of desire to believe … I am chalk full of desire to believe. The problem is, simply, I know better. I know that space travel is a lie, a concoction of science fiction turned scientism fact, a deception deeply rooted in a need to keep the masses utterly clueless as to the true nature of this world as well as our origins and the purpose of this materialistic experience called life.

So who are these actors? Who are these people? I did not invite the Sean Penns of Hollywood into my life, they were just THERE, right from the start. There is an odd intimacy involved when it comes to these famous individuals and the arc of our lives. We grew up with them. Via the screen, actors have been with most of us (to varying degrees) from the very beginning, portraying abstractions that subconsciously became our barometer for navigating life. Whether we admit it or not, an odd type of relationship forms between ourselves and the actors we grow up with. Despite the obvious fact that these celebrities have no idea—or interest in—who we are and, fully aware that even if we were to “meet” them in person they would forget us moments later … it is inevitable that a strange kind of bond forms within the viewer for the performer. Actors have taken us on grand adventures all over the world and beyond, into fantastic realms and larger than life scenarios. The best of them have made us genuinely FEEL things, even if those emotions were fleeting, a mere whisper compared to those we experience via real-world events.

It is only natural, then, that we at least subconsciously feel as though we “know” these actors, that they inhabit our internal world in ways not wholly dissimilar to those with whom we engage face-to-face. While this may seem like a trivially obvious statement, it is one we must engage when it comes to celebrities:

These people are NOT our friends.

More than that, the actors we grew up with—no matter how much collective warm and fuzzy emotion may be attached to their myriad roles—are nothing less than our ENEMIES. These people are paid ludicrously large sums of money for their ability to present lies as truth.

Without the pillar of Hollywood bolstering the false narratives attempting to define who and what we are, the entire construct would be greatly weakened if not wholly untenable. This sleight of hand is rarely accomplished directly. Take the grandest magic trick of our time, the events of September 11, 2001 (9/11). While there may be a handful of films presenting the events of that day head on, the number of films (and TV shows and comics and video games, etc.) that reference 9/11 and use it as a plot device … that number is off the charts. By way of the 9/11 farce, Hollywood has injected a considerable percentage of its annual output with themes of terrorism and the futile struggle to defeat it. Terrorism has become the ultimate plug-in villainy, and the fiction of 9/11 serves as the justifying anchor for all of these spinoff narratives.


The small collection of completely intentional “Easter egg” truths that the fully aware, discerning viewer may be able to extract from any given Hollywood production is not worth the price of admission. This addiction to entertainment (aka enter [con]tainment) really needs to be conquered by each and every one of us, both individually and as a collective whole. It is not enough for us to say, “I’m aware of the game being played and this makes me impervious to the propaganda,” or to say, “I’m only watching Hollywood content in hopes of deciphering its buried subtext.” I don’t think the larger mechanism cares WHY we are watching, only that we continue to watch, to consume … to be consumed. It is all, ultimately, a time suck. Our time would be much better spent engaging others, engaging reality, making our own art … discovering ourselves and each other.

I say these things knowing full well that this is MY struggle … and that I am failing colossally in this arena. I have several vices but, in truth, only one actual addiction: film. I know I am far from alone in this. It is folly to think we can simultaneously reject mainstream cinema as a deceiver of humanity while also embracing it as a means of understanding the deception. The only true course of action is to eject it from our lives completely, to be rid of it and the stain it works so hard to place upon our consciousness.

Mount DEWbious — Anomalous Fires and Predictive Programming

In the context of a screen-immersed civilization, it is difficult to overstate the impact of “predictive programming.” One could easily argue that the primary function of the screen is exactly that … after all, isn’t advertising expressly defined as predictive programming? The very existence of an advertisement, by default, is an admission by the creators that they are “predicting” the ad will successfully “program” you to seek out the product, whether consciously or subconsciously. Of course, as with just about everything, there is a hierarchy involved; the type of predictive programming inherent at the baseline function of an advertisement exists toward the bottom tier of this hierarchy (literal, clear intentions i.e. sell the product), whereas predictive programming as it relates to a massive ritualistic magic trick like the 9/11 “attacks” on the World Trade Center would land much higher on the scale (subversive, intentionally illusory i.e. plant the seed of some future event or cultural trend deep within the subconscious mind). Existing at the top of the predictive programming hierarchy would be more of a cumulative abstraction, an overarching end goal of multi-generational social engineering; countless separate but interconnected components designed to lead the vast majority to a shared perception of reality.

The truly fascinating aspect to all of this is that a piece of media can exist at multiple points along this hierarchic ladder at the same time, meaning an advertisement can potentially be literal predictive programming (selling you a product) while simultaneously presenting subversive predictive programming hinting at a future event or desired social trend; the same ad could also be at the highest level of the ladder because it feeds into the multi-generational goal of engineering a specific state of mind in the masses. It is for this reason that a great many people, when presented with the concept of subversive predictive programming, are quick to dismiss it and move on. The notion that a comedic advertisement selling us soft drinks or a children’s animated film could also be encoded with details about a future world shaping event is one of those concepts that draws a definite line in the sand: if you cross that line and accept the possibility, this media saturated world of ours becomes a very different landscape.

In this post, I will endeavor to deconstruct one of the most blatant examples of subversive predictive programming I have experienced in recent years. It involves what many have concluded—ranging from decades-long professionals to observant laymen—are highly unnatural fires that have occurred in recent years. I am most familiar with those fires that have devastated parts of California as those hit fairly close to home (Tubbs fire in 2017 and Carr fire in 2018), though there is ample evidence to suggest similar anomalous fires have been occurring across the world.

NOTE: the purpose of this post is not to outline WHY/HOW the Tubbs and Carr fires are anomalous. There is a tremendous amount of information available online to that end. If you are not familiar with the myriad of strange aspects surrounding these fires, you may want to research the topic before continuing to the predictive programming breakdown below.

Decoding the Mountain Dew Kickstart Commercial (released 2015)


Several months ago, when it first struck me that Mountain Dew’s slogan “Do the DEW” was suspect in the context of all the chatter regarding D.E.W. (Directed Energy Weapons) … I watched dozens of the company’s commercials. Many of them are worthy of being decoded, but one in particular for an energy drink called ‘Kickstart’ stood head and shoulders above the rest. This is because it subversively presents a quite detailed story about anomalous fires and the impact they will have on society. There is an aspect to another recent PepsiCo superbowl commercial for Doritos and Mountain Dew called ‘A Song of Fire and Ice’ that is worth presenting because it gives us a hint about how D.E.W. fires may actually work when it comes to the destruction of homes.


The animated GIF above is quite telling. If you aren’t really paying attention, your brain will perceive that the icy breath from Freeman (representing the D.E.W. with Mnt Dew Ice) is simply blowing out the flame on the shoulder of Dinklage (representing fire with Doritos Blaze), who then proceeds to reignite the flame. Take another look. Upon closer inspection, the VISIBLE icy breath from Freeman does not actually put out the initial fire on Dinklage’s shoulder; the fire blinks out well before the visible “ice” reaches it, working as a visual misdirection. This is followed by Dinklage doing his “what’s up?” gesture that implies he is CONVERTING the incoming blast from the “DEW” into a new “Blaze” on his shoulder. It is all about picking up on the very intentional timing of the visual cues. The trick is following the visible icy breath all the way along its path, even after it vanishes, and realizing where it would be when Dinklage “uses” it to start a new fire. Mr. D.E.W (Freeman) even offers a delightful little chuckle at the trick being pulled off.

My contention, when it comes to D.E.W., is that these weapons cannot technically start fires on their own but work in conjunction with another technological component. In essence, the D.E.W. provides the spark, the required energy, while a secondary and seemingly unrelated device converts that energy into an especially destructive blaze capable of reducing an entire home, including all contents and its foundation, to white ash. In that context, the animated GIF above is revealing something crucial and I will speak more to that after the full breakdown of this commercial. (Incidentally, Doritos is an anagram for “Do Riots” which means the product Doritos Blaze becomes “Blaze Do Riots.”)

I recommend watching the full length commercial/video before delving into the breakdown. In the context of subversive predictive programming, see how many items you can pick out that may relate to fire and the use of directed energy weapons:
FULL LENGTH VIDEO – 2015 Mountain Dew Kickstart Commercial


The scene opens on some friends cracking a few Mountain Dew Kickstart energy drinks. Right out of the gate we are presented with several clear connections to D.E.W. (Directed Energy Weapons). First and foremost is the brand name Mountain Dew itself, which has leveraged the slogan DO THE DEW for many years. Mountain Dew, as a brand, has tirelessly associated itself with frantic energy, appealing to those with a sense of adventure and a strong desire to confront danger. The specific product name ‘Kickstart’ (Firestarter anyone?) can easily be associated with [kick]starting a fire and it is, of course, an “energy” drink. So we have “DEW” “Kickstart” and “Energy” … quite an auspicious three seconds.


Directly after consuming some of the beverage, with looks of confused horror on their faces, the three individuals begin to move/dance. This is oddly presented as possession of some kind … as though the pure energy of the drink has taken control of their physical bodies and is forcing them to wildly contort. It is clear from the expressions presented that none of them are “enjoying” this experience (which, in the context of selling a product solely created for enjoyment, doesn’t make much sense); it is literally out of their control. They are reduced to spectators the moment the “DEW” is unleashed.

Note on Music: The music itself, at the 15 second mark of the commercial, incorporates an element that is very reminiscent of a siren sound. This is another aspect that queues us in to the subversive theme of “fire” and “emergency.” The siren sound drops in at several points throughout the video. Interestingly, the song is titled “Bus Ride” by the recording artist Kid Cudi (born in 1984, the year the film ‘Firestarter’ was released … a fun tidbit about that movie can be found at the end of this post). Many have speculated that D.E.W. created anomalous fires are connected to the Agenda 21 United Nations program that seeks to get people out of their cars and living in high density housing environments in which public transit would be the only option. Viewed from this context, the song title “Bus Ride” fits the narrative perfectly.


Next we have a depiction of a student spontaneously dropping their backpack (symbolizing education … perhaps hinting at a disruption in the operation of schools) and, like the initial three, despite the fact that he has not directly consumed the “DEW” Kickstart, begins to similarly dance beyond his control. His eyes are opened extremely wide in a state of perpetual shock at what is taking place.


We are shown a variation on the typical yellow pedestrian warning sign. The sign depicts animated stick figures in a universally recognized “fu*%ing” motion. Also of note, their briefcases have been dropped down to the bottom of the sign. The briefcase is another universal symbol used to depict BUSINESS. My interpretation of this is that the fires will greatly disrupt/impact the businesses and economy of the region (as in, business will be FU*%ED). A small minority will greatly benefit by the chaos caused by highly destructive fires (construction companies directly, of course, but others via exploitation and price gouging), while many businesses will suffer losses and even total shutdown.


This is followed by a couple who also begin to dance uncontrollably despite never drinking the Kickstart directly, dropping their stuffed bags of groceries in the process. In particular, agriculture in California produces a monumental amount of food (represented by the stuffed grocery bags), so the meaning here seems rather apparent: fires are going to cause a major disruption in the food supply.

It must be noted here that the “energy” from the Kickstart DEW drink is spreading person to person. Even though individuals are not partaking of the drink themselves, the “out of control” energy is rapidly spreading to them anyway. This is a metaphor depicting the characteristic of fire quickly spreading from the initial ignition point. The metaphor really can’t be made much more clearly: this commercial’s underlying theme is fire.

Oh, right, except it can be made clearer … because we are literally shown fire dancing in this little production.


This image is loaded. First and foremost, we have the cartoonish depiction of fire in the form of everybody’s favorite wind-motivated attention grabber, used to advertise businesses across America. This component could have been any color so, while not conclusive, it is certainly dubious that the color most commonly associated with fire (red) was chosen. Mountain Dew as a product is most often associated with the color green, so that would have made more sense from an advertorial standpoint. You’ll notice that the symbolic flame is gyrating right next to a tree that is unaffected by it, a trait typical to these fires in which entire homes (foundation and all) will be rendered to white ash while nearby vegetation is essentially unscathed. Also in this image, we are shown a person wearing a yellow construction hat. Other than the hat, there is really no indication that this individual is a construction worker and there is nothing actually being constructed; in other words, there is no reason for this joker to be sporting a construction hat. He also happens to be directly beneath a “Grand Opening” sign. This, in my mind, is a reference to Agenda 21 and the push to move people out of their single family homes and into “stack ‘em and pack ‘em” high density housing. To begin with, the entire scene chosen for this commercial is a dense apartment-complex-type living situation. The man in the construction hat symbolizes the construction that will take place AFTER the fires have forced people out of their homes. Desperate for housing, families are going to move in to whatever becomes available first, and this will no doubt be, in many cases, high density housing.

DEWcomm08_USPostalGetDownThe U.S. Postal Service is going to “get down” too.

DEWcomm10_USPostalDroppingMailOooops, there goes your mail. Sorry for the inconvenience.


For fans of numerology, at exactly 33 seconds into this commercial, the doors get violently broken down. Take from that what you will … but notice the bicycle in the hallway behind the busted doors; say goodbye to your cars. You’re going to be riding a bike (or walking, or taking the bus, etc.) in the near future. It’s all part of the plan. As Heath Ledger’s Joker tells Harvey Dent:

“You know what I noticed? Nobody panics when things go according to plan. Even when the plan is horrifying.”
—Joker in The Dark Knight


What’s this? The fire is hanging on for dear life? This represents the tornado level winds that have been reported at these fires, despite highly suspicious and inconsistent statistics regarding actual winds at the time. The fact is, there WERE extreme winds, but it was isolated directly within the individual fire events. We will touch on this again later.


The commercial even provides us with a token firefighter, a figure they’ve gone out of their way to present as utterly ridiculous. He’s wearing the most absurd expression (“Hi, I’m an absolute douchebag.”) and is shooting water from a hose without even looking at his target. This is informing us that firefighters will be more or less helpless against these events. There will be hundreds if not thousands of them on hand, but mostly for show, especially when it comes to actual structural fires. These blazes are going to perform their home-destroying task and there is nothing any firefighter can do to combat them beyond striking a pose for the camera (and getting paid, of course).

DEWcomm13_AllStartsWithAKickHey, “it all starts with a kick” right?

This is worth noting: toward the end of the commercial the U.S. Postal Service literally falls on its ass. Hmmmm.

Also, as the commercial winds down, we are shown an elderly woman standing next to her motorized scooter which is going round and round in a circle. Quite literally, seniors are going to be displaced from their homes and given the “runaround.” In the aftermath of the Tubbs fire, residents from a senior mobile home park have been outright prevented from rebuilding their homes. These people are homeless and being charged monthly rental fees for mobile home spaces they are not allowed to rebuild on. The commercial, quite blatantly, symbolically depicts this runaround tactic with the motorized scooter going in circles, forcing the elderly woman to abandon it. Inevitably, the land that once was used for independently owned mobile homes will be reconstructed as much more profitable high density housing. So much for respecting our elders …

As expected, the commercial saves the best for last.


In this scene we are shown a manhole steam cone. These are used to funnel steam from street manhole covers up high enough to avoid it creating problems at street level, such as obscuring the view of drivers and pedestrians. Having never had firsthand experience with these, it instantly caught my eye. After some research I was stunned to discover that the visual presentation of this manhole steam cone in the commercial is completely inaccurate when compared to the real thing.


Above is a photo taken of an actual steam cone in action. This is what they look like in reality, without exception. The orange and white stripes are wide and go STRAIGHT across, parallel to each other; the cone consists of several separate stripes that are disconnected from one another.

It is even possible to purchase and/or rent fully functioning replicas of a manhole steam cone for, say, a New York City themed dance party or, I don’t know, a COMMERCIAL. These are realistically recreated versions of the real thing, and why wouldn’t they be?


Let’s return to the scene: Isn’t it the purpose of a prop in a scene depicting an urban street to help establish the illusion? In other words, for the scene to work, the goal is to suspend the viewer’s disbelief well enough that they accept the setting being presented as “authentic,” i.e. this is a typical urban street. So why has the director gone to the trouble of CHANGING the visual presentation of a real manhole steam cone? Clearly, from an economic, budgetary standpoint, wouldn’t it be less costly to simply make use of an existing steam cone for your production? Creating something from scratch takes planning, money, additional effort, and it most certainly indicates that intellectual intention is a motivating factor. The question then becomes, why is this commercial showing us a specialized, visually inaccurate interpretation of a manhole steam cone?

The fictional steam cone in the commercial features a continuous orange stripe that spirals from top to bottom. This conceptually creates the idea of a VORTEX. Combine this with the fact that the shot pans in such a way as to bring the dancing fire component (conveniently moved from its prior position … this fire gets around) right alongside this vortex-inspired version of the steam cone. For good measure, the lone fireman is also present, directly behind the steam cone (shooting the water from his hose away from the blaze, of course). So we have dancing fire, an inaccurate depiction of a steam cone made to conceptualize a vortex-like movement, and a fireman … all lined up nicely as the camera pans across the closing moments of the commercial. This pushes beyond the realm of plausible deniability in my opinion, when taken alongside the other clues outlined above regarding this ad’s subversive message.


The depiction of a vortex on the steam cone makes a lot of sense when you consider the occurrence of massive “firenadoes,” which were extremely prevalent during the Carr fire (Redding, CA). Also, as you recall, there are several frames in the commercial which depict the dancing fire component clinging to a street sign for dear life; in conjunction with the vortex/firenado symbolism of the steam cone it becomes clear what is being conveyed. These anomalous fire events will always feature twisting, tornado-like winds that are present only directly in and above the actual blazes, regardless of the wind/weather conditions of the region at the time.


Of course, never missing an opportunity to push an agenda, the mainstream media is quick to (at least partially) blame the destructive anomalies of these fires on climate change. This is a highly effective tactic as it connects observably disastrous real-world events to the growing psychological distress created by the climate change narrative. It also diverts attention and inquiry away from the probable true cause of the fires and their unusual behavior.

In Conclusion


I wanted to bring things full circle back to this initial animated GIF. As stated previously, it is my contention that D.E.W., as it relates to burning homes/structures to the ground, cannot function independently and requires another, separate piece of technology to achieve that end. While this is speculative, there is strong reason to believe that the widespread installation of SMART METERS is directly linked to the anomalous fires now being experienced. It is not surprising that California was host to the Tubbs fire of 2017, the aftermath of which is responsible for the surge of D.E.W. related conversation on platforms like YouTube. California, from the outset in the United States, has lead the charge in terms of smart meter installations:


There are three key elements of interest, the first of which is a question: why now? Why have anomalous fires suddenly popped up in the United States? It does seem worth noting that the anomalous fires in California occurred AFTER the ambitious smart meter installation program by PG&E (Pacific Gas & Electric) was well underway. It is especially worth noting that many reports have been made in recent years claiming that individual house fires were caused by smart meters; while those cases are most likely unrelated to the use of D.E.W. technology, it brings me to the heart of the argument: smart meters create an exploitable safety hazard as it relates to the electrical wiring in every modern structure.


The analog meters—which have been and continue to rapidly be replaced by smart meters—have surge protection functionality built directly into their design. To the best of my knowledge, the new smart meters do NOT include any kind of surge protection. To make use of computer hacker terminology, this is the equivalent of building a “back door” directly into the system that will allow access to those who know how to take advantage of it. In terms of the animated GIF above, I would suggest that it is symbolically depicting the following process: 1. The D.E.W. provides the super-charged, electromagnetic energy and 2. The smart meter serves as the “back door” to the home/structure, a gateway (due to a lack of surge protection) that allows that tremendous energy to enter the wiring system and essentially ignite large sections of the home instantaneously. It must also be stated that smart meters serve as an ideal targeting system as they, by default of their primary function of transmitting a specific addresses’ electricity usage, are digital GPS devices that are pinging constantly.


These fires burn with intense heat, beyond that of a standard house fire (1,100 degrees Fahrenheit), as evidenced by the complete lack of items that often remain in the aftermath of typical house fires, such as steel filing cabinets, stainless steel appliances, and anything made of porcelain. Mullite, a major component of porcelain, does not melt until heat exceeds 3,300 degrees Fahrenheit! In the aftermath of these anomalous fires, there is often, quite literally, nothing left beyond white ash … the white ash itself becoming evidence of the extreme heats produced because it denotes total combustion.

I’ll Huff and I’ll Puff …


This is a side note observation I’ve made: if one looks through photos of the aftermath of anomalous fires, you undoubtedly come across scenes where anything made of traditional brick is left unscathed, almost as though nothing has happened. Brick can withstand heat up to 4,000 degrees Fahrenheit, far more than even porcelain is able to contend with. This gives us a reasonable range within which to estimate the extreme heat being produced in anomalous fires: somewhere between 3,400 – 3,900 degrees Fahrenheit. The brick components left standing made me instantly think of the ‘Three Little Pigs’ fairytale in which the big bad wolf easily takes out the homes made of straw and sticks, but cannot bring down the house made of bricks.

Who’s A Firestarter? Twisted Firestarter?


Also, just for fun: while working on this post and collecting resources, I couldn’t help thinking of a film I had seen many years ago, possibly as a teenager. The movie is ‘Firestarter’ and stars Drew Barrymore, in which she plays a character capable of mentally generating and controlling fire. It was her third film role and came out in 1984. In the animated GIF above, notice the localized wind that surrounds her when the “energy” rises, reminiscent of our vortex/firenado components from the commercial breakdown above. I also find it strange that, with the “r” removed from her first name, you are left with DEW and, phonically, “Barry” sounds exactly like “Burry.” So Drew Barrymore could be depicted as “DEW® Burry More.”