Topic: Crisis Actors

The host and guest discuss the pitfall of modern conspiratorial thinking where everything is labeled a "psyop" or "fake" as an intellectual defense mechanism. While acknowledging that media events can be staged, Gunther warns that this blanket skepticism prevents nuanced discernment. This mindset often serves the ego by making the individual feel "smarter" than others while avoiding the dark reality of actual human suffering.

The speakers analyze the behavior of Robbie Parker, a Sandy Hook parent who appeared to laugh before "working himself up into a cry" for a press conference. They also discuss a mortician who testified about the event but was later found to be a retiree suing the state for a pension, suggesting his role was fabricated.

Demengarde identifies recurring elements in high-profile terror events, specifically the presence of pre-event drills and the use of a "patsy." He notes that Homeland Security conducted an active shooter drill in Las Vegas just days before the shooting. The use of a lone, deceased perpetrator is described as a legal strategy to avoid conspiracy investigations and close cases quickly.

The profile of Steven Paddock is scrutinized, noting his history with defense contractors like Lockheed Martin and his father's status on the FBI's most wanted list. Claims are made that Paddock may have been a CIA-contracted pilot with dozens of US addresses. Discrepancies in public photographs are discussed, with suggestions that the images released to the media do not match the individual associated with Paddock's legal address.

The behavior of witnesses in the Vegas shooting is compared to patterns observed in other international events, suggesting the use of professional crisis actors. References are made to witnesses appearing on programs like Dr. Phil and the presence of "Moulage" trailers used for military medical training. The speaker asserts that many witnesses in these events have ties to government, theater, or media sectors.

Ole Dammegard introduces "Crowds on Demand," a company that provides paid participants for rallies and protests, suggesting their involvement in Charlottesville. He highlights a specific image of a demonstrator wearing an FC Barcelona t-shirt as a "predictive clue" for the subsequent attack in Spain. He also notes reports of police being ordered to stand down during the clashes.

In a post-interview segment, Carlwood discusses a recent shooting incident at Comet Ping Pong. He expresses suspicion that the event may have been staged or utilized as a "psyop" to discredit the Pizzagate investigation as dangerous "fake news." He argues that the timing of the incident conveniently serves the interests of the power elite seeking to shut down the conversation.

The use of crisis actors in the 2011 Norway shooting and the Paris attacks is explored through the lens of digital metadata. Dammegard claims that photo URLs on news sites like CNN and Norwegian TV2 contained directories labeled "actors" or "assets." He suggests these labels inadvertently reveal which individuals are under intelligence agency control during staged events.

Dr. Patrick Pelloux is identified as a recurring figure who was present at both the Charlie Hebdo shooting and the November 13th attacks. Pelloux, who has acting credits in French films, was interviewed regarding the "lucky" timing of medical drills on the morning of the Paris attacks. The segment draws parallels to Peter Power’s role in the 7/7 London bombing drills.

A debate ensues regarding whether tragic events are completely simulated or involve real casualties alongside staged elements. The guest maintains a hardline stance that these events are entirely fake, citing Sandy Hook as a primary example of a "total put-on." The host expresses more uncertainty, wondering if real violence is sometimes used to anchor the staged media coverage.

In a solo wrap-up, host Carl Wood reflects on the Paris attacks and the use of crisis actors in modern tragedies. While he agrees that much of the footage appears forged, he remains skeptical of the idea that no one is ever hurt, noting that the elite often use poverty and real violence as weapons. He suggests that the media's role is to amplify and craft trauma through controlled footage.

Jim Fetzer discusses the presence of military drills and crisis actors during high-profile shooting events. He critiques the behavior of Robbie Parker and other Sandy Hook parents during media interviews, claiming a lack of genuine grief. The segment also mentions Hillary Clinton's presence in Charleston near the time of the shooting as a suspicious coincidence.

Oli Demingard proposes that a small, specialized group of approximately 100 individuals functions as a traveling theater troupe for global staged events. This group allegedly includes makeup artists, military advisors, and actors who are transported via NATO or US Army planes to various locations. The theory suggests the same personnel appear as SWAT teams or background extras in different international incidents.

The discussion focuses on how secret organizations prevent leaks by keeping operational groups small and providing high financial compensation. When money fails to ensure silence, the entities allegedly use threats against family members or physical violence to maintain discipline. This compartmentalization explains why the same "crisis actors" are sometimes reused across different events like Sandy Hook or the Boston bombing.

Oli Demingard identifies "duping delight"—inappropriate smiling during tragic interviews—as a sign of amateur crisis acting. The segment claims that official investigations are often staged, with "cleaners" removing honest detectives to protect the scripted narrative. Demingard mentions his relocation from Sweden to Spain following personal threats related to his research.

The segment discusses a shift toward entirely staged events post-9/11 to avoid dealing with the persistent inquiries of real grieving families. A recorded phone call from a radio host who successfully applied to be a crisis actor is cited as evidence of the industry's existence. The recruitment process reportedly seeks specific looks, such as a "headmaster" type for an event in Oklahoma.

Carrie Cassidy analyzes the Charlie Hebdo shooting in Paris, labeling the event a staged false flag operation intended to usher in military presence and internet censorship. She cites anomalies in video footage, such as an AK-47 appearing to fire air pellets rather than real ammunition and the suspicious behavior of the alleged perpetrators. The discussion explores the use of crisis actors and the occult symbolism behind such events to manipulate public energy.

Greg Carlwood questions the "fake event" theory by mentioning a waitress at the La Jolla Comedy Store who reportedly had a relative injured in the Boston Marathon bombing. Marcus Allen responds by suggesting the existence of a traveling troop of actors used to manufacture reality across different global events. He claims the same individuals have been spotted at Sandy Hook, the Boston bombing, and the Oslo attacks in Norway.

The host introduces the 90th episode by comparing modern discourse to Franklin Delano Roosevelt's Fireside Chats. A case is made for questioning official government and media narratives, specifically regarding the potential use of crisis actors and staged elements during the Boston Marathon bombing. The discussion emphasizes that skepticism of authority is a necessary response to a history of institutional lies.

The host announces the opening of a Skype voicemail line for The Higher Side Chats to encourage global listener participation. Citing listeners in 97 countries, the host expresses a desire to hear firsthand accounts of international situations to bypass "tainted" conventional media and American-centric propaganda. This initiative aims to break the "American bubble" by incorporating diverse voices into the show's transitions.