patrick.net

https://substack.com/inbox/post/175746469

In March 2020, as governments around the world declared a state of emergency and citizens huddled in their homes awaiting updates on overloaded hospitals, something strange began to appear on social media: choreographed videos of medical staff dancing in seemingly empty hospital corridors. These were not spontaneous celebrations captured on cell phones—they were carefully produced performances, often set to popular music, with synchronized routines performed by groups of nurses and doctors in full personal protective equipment. From Jerusalem to New York, from London to Melbourne, medical professionals performed coordinated dance routines, while the world was told that healthcare systems were facing unprecedented collapse.

The discord was immediate and jarring. Official messages insisted that hospitals were war zones, that medical systems were on the verge of collapse, and that healthcare workers were exhausted heroes barely holding the line against an invisible enemy. News reports showed refrigerated trucks allegedly storing corpses, field hospitals being set up in Central Park, and grim warnings about the distribution of ventilators. At the same time, however, these same hospitals were producing what amounted to music videos—not one or two, but hundreds, appearing with suspicious timing around the world.

The Rockefeller Foundation’s 2010 “Operation Lock Step“ scenario envisioned a pandemic that would lead to authoritarian control through citizen compliance with emergency measures. The document described how “citizens willingly cede some of their sovereignty—and privacy—to more paternalistic states in exchange for greater security and stability.” But even this prophetic document did not foresee this particular form of psychological operation: the weaponization of absurdity itself. The dancing nurses represented something beyond traditional propaganda—they were a show of force through the deliberate creation of cognitive dissonance.

Paul Linebarger, in his seminal work on psychological warfare, wrote that effective propaganda must maintain internal consistency in order to be believable. But here was something different: propaganda that flaunted its own contradictions, provoking the audience to notice the impossible juxtaposition of crisis and celebration. When citizens pointed out the obvious—empty hospitals while they were told hospitals were overloaded, staff dancing while they were told they were exhausted—they were met not with explanations, but with gaslighting. To question the videos meant that we would be labeled “conspiracy theorists,” that we would dishonor the heroes of healthcare, that we would spread “dangerous misinformation“...

This technique seems to draw inspiration from what Michael Hoffman calls “method disclosure“ — the practice of cryptocracy revealing its activities in plain sight, knowing that public inaction in the face of such a revelation produces a discouraging effect. The message becomes: “We can show you the contradiction between our words and our actions, and you will do nothing. You will accept both the lie and the evidence of it.” It is a form of ritual humiliation that works not through concealment, but through unabashed display. ...

The concept of ritual humiliation in psychological warfare operates on a principle that predates modern propaganda: forcing the subjugated to participate in their own degradation. Ancient conquerors understood this when they made defeated peoples crawl under yokes or bow down to their victors. The dancing nurses represented a refined evolution of this technique—not the humiliation of healthcare workers themselves, but rather of the audience that was forced to watch and accept the spectacle.

Consider the specific elements of these performances. Healthcare workers, the designated “heroes“ of the pandemic narrative, engaged in frivolous entertainment while wearing the very equipment we were told was in critical shortage. They gathered in groups, while citizens were arrested for attending funerals or visiting their dying relatives. They demonstrated that hospitals had both the space and the staff available for elaborate rehearsals, while the public was told that medical systems were facing imminent collapse. Each piece of information exacerbated the offense, creating what psychological intervention researchers recognize as a “cascade of humiliation“ — where each accepted contradiction makes it easier to impose the next. ...

The timing of these videos was crucial. They appeared just as populations were adjusting to unprecedented restrictions on their freedom. Locked in their homes, separated from their loved ones, watching their businesses collapse, citizens saw images of their “exhausted heroes“ performing synchronized dance routines. It was as if the system was mocking them: “We took everything from you under the guise of an emergency, and now we’re going to show you that it’s not even real — and you’ll thank us for it.” ...

Someone had to organize the staff, someone had to choreograph the routines, someone had to film and edit, someone had to upload and promote. This level of coordination in many hospitals worldwide suggests institutional support, if not direct instruction. The message embedded in this production value was itself part of the operation: “We have the resources and the authority to make this happen, everywhere, simultaneously.” ...

Consider how these videos proliferated. They did not originate from a single source that could be challenged. They appeared simultaneously on multiple platforms, from multiple hospitals, in multiple countries, creating what information analysts call “source laundering“ — when the origin of an operation becomes impossible to trace because it appears everywhere at once. This gave the phenomenon an organic appearance while serving a coordinated purpose. Individual hospitals could claim that their video was simply innocent stress relief, while the overall effect created a global psychological operation. ...

Those who orchestrated this operation understood something fundamental about human psychology: people will choose meaning over truth when forced to choose. Faced with the choice between admitting they had been deceived (and thus facing the terrifying implications for their institutions) or constructing elaborate excuses for the obvious contradictions, most chose the latter. The videos of dancing nurses became a test of how much reality could be distorted before it broke down—and the answer was “much more than anyone could have imagined.”

The dancing medics and nurses were in your face braggart ritualized humiliation of the populace.

"We're killing you and its fun for us, while we serve you the hypomanic game show feed bag we serve you on regular network tv and advertising."

"We can fuck your leaders, we can fuck your medicine at will, we can fuck your institutions, we have cashed in all the trust you have of your government in order to get your doctors to kill you."

It was Joker dancing down the stairs after shooting somebody in the face.

Videos scrubbed off YouTube.

Fortwaye says

Videos scrubbed off YouTube.

Yep amazing they scrubbed it. Sure some copied them though if you really wanted to find em

Here's a .pdf on the healthcare hustle.

view Medical Nemesis pdf

https://x.com/toobaffled/status/1978283652686688561

Dancing nurses were never about the morale of healthcare workers or stress relief. They were a test, a sorting mechanism, revealing who would accept the contradictions and who would resist them. These videos on TikTok, which appeared simultaneously across all continents while governments declared medical emergencies, represented something unprecedented in the history of propaganda: the authorities showed that they could make populations accept two mutually exclusive realities at the same time. [Hospitals were "overwhelmed" and yet doctors and nurses spent hours rehearsing dance routines.]

What we witnessed was not traditional propaganda aimed at persuasion, but something more akin to what abuse experts recognize as gaslighting on a large scale. The psychological mechanism was elegant in its cruelty: it presented citizens with an apparent contradiction—hospitals that were both overcrowded and empty enough for choreographed routines—and then punished them socially for noticing it.

This essay explores how this technique fits into the broader context of psychological warfare

The dancing-nurses were a test for the distortion of reality. Once populations accepted this initial contradiction, they were prepared for more: each accepted absurdity weakened the public’s ability to trust their own observations.

This technique seems to draw inspiration from what Michael Hoffman calls “method disclosure“ — the practice of cryptocracy revealing its activities in plain sight, knowing that public inaction in the face of such a revelation produces a discouraging effect. The message becomes: “We can show you the contradiction between our words and our actions, and you will do nothing. You will accept both the lie and the evidence of it.” It is a form of ritual humiliation that works not through concealment, but through unabashed display. Almost four years later, we can see how this enterprise created precedents that persist.

The whole Covid fraud was an enormous intentional psyops experiment to find the limits of the boundary conditions of the deception, the faked theater, and the health propagandas on the population. They were all studied, mapped and indexed for future reference and future use.

To what extent could they establish obedience, fear, and loss of rights with the contagion bogey. Problem, reaction, solution with the greatest flagrant contempt for the populace than they have ever displayed to date.