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# 4. Hoaxed Events

🏷 recommended · article — by Gerry · Mar 2025 · 3152 words

Practically every famous major event in human history was a hoaxed event, fake-enacted with live actors at the real place. The elites have been doing this since ancient times, as written in their encrypted texts, but it’s a secret to this day.

## Fake events for power & money

Miles’ research has shown that historic events in all of human history are fake.

For the ruling aristocracy, faking even major events is easy: Their armies of secret agents are not just for watching us, but also for enacting hoaxes. They play the roles of perpetrators, victims, and the many bystanders who can confirm that it was all “absolutely real”.

The aristocracy runs hoaxed events for various reasons:

- They distract, and simulate progress where there’s none (e.g. the fake moon landings).
- They make you distrust thy neighbour (e.g. all the fake serial killers like Charles Manson or Ted Bundy).
- They help start wars by creating hatred towards foreign nations (e.g. the fake 911 attacks or Pearl Harbor).
- They provide false narratives for already running wars (e.g. the fake atomic bombings).
- They make martyrs out of corrupt aristocrats (e.g. the fake assassinations of Kennedy, Lincoln and Caesar).
- They enable risk-free profiteering (e.g. the fake Titanic sinking).

Hoaxed events like this have been run for millennia. They were perhaps not too present in very early Sumer & Egypt. But by classical antiquity, hoaxed events were already a staple trick in the aristocratic toolbox.

## Hoaxes improve approval ratings

The ancient text are quite clear about the motives: Winning against fake enemies makes an incompetent & corrupt aristocracy look good!

Here’s what Ovid says about them: Violence rules the stubborn, regular oppression the weak, nonsense the intellectuals, and play-enacted events defeat all opposition.

> - The most violent way of ruling was retired, and only used for the lowest citizens, the fighting multitudes, the lower subjects, and the rude ones that have to be subjected to the yoke by scaring them.
> - The other weak and coarse subjects, those who are more or less happy when left alone, are tepid, so the best way of ruling them is regular subduing.
> - The knowledgeable and wise ones can be horribly possessed by intellectual nonsense.
> - And opposition by the multitudes on the ground must regularly be restrained through disguises and play-enacting.

> Ovid: Metamorphoses 1.61–1.66 (secret meaning)

Virgil confirms that the motives for hoaxed terror attacks are to shut up critics & restore faith:

> In a secret but extensive arrangement, an attack is prepared, and then produced by presenting a mockery. All from the unwashed masses can then be subdued by this perception, as it distracts the crowds and subjugates them.

> Here and there, dressed-up imitators and duplicators feign in secret operations some danger, but only that kind where beneath the widely disguised surface all is secure and quiet.

> Then a theater scene is brandished from above, starring the privileged rulers, and their terrible and deadly retribution is threatened in pretence.

> On the outside appearance of this hostility, the dangerous people are then punished and destroyed. But inside the mockery, all is pleasant for the lookalike actors. Because these cloaked figures are only lifelike accomplices, the multitudes’ tamers.

> From here then, the exhausted subjects need no ropes for their activities, or anything to control them. There are no troublesome folk and no hindering ungratefuls anymore, who would criticize anything.

> Virgil: Aeneid 1.159–1.169 (secret meaning)

The Egyptians already used hoaxed terror to improve public opinion, here in their famous Battle of Qadesh: The pharaoh isn’t respected, so he simply has some actors dressed up as foreign rebels, fake-defeats them, and is instantly hailed as a hero by his swindled subjects!

> At that time, his majesty was humiliated in his command, trying to resemble to be strong.

> So he needed to be seen as a good leader through some deception, in some shape of his majesty that would be seen as a vigilant, accomplished commander. He had to appear in some great form, like when he had initially received the decorations of his sovereignty.

> Therefore the lord had to plant some quarrel. For that, his majesty approached his secret watchers for the proclamation of a hoax-rebellion. His skilled actors in disguise would come, to do this quarrel for his majesty.

> Egyptian: Battle of Qadesh 3–8 (secret meaning)

> Now this mask of a rebellion surrounded the retinue of his majesty, and those who were beside him.

> Then his majesty would catch the sight of them. He raged against them like in a true sovereign’s fashion, like the lords of old. He took on the decorations of battle, and was clad in his body armor. He was like a real fighter in his deception.

> Then he rose into his performance and presentation quickly, while his head was securely covered. He entered into this facade of a rebelling enemy, and into the pretended foreigners, and it was truly confusing. It was an appearance of killing. His majesty appointed them to fall in great heaps, one upon the other, according to how their pre-arranged performance had to appear.

> Egyptian: Battle of Qadesh 83–104 (secret meaning)

The pharaoh admits it all:

> So did I falsify the cover of it all, while I too was covered up, when I appeared with my own creations and my own rebels.

> Not a single one could stand against this swindle! I swear that the oppressed folk loved me afterwards, and that my poor subjects all praised me.

> As for the deeds told to have been done by “his majesty”, I did it all just in appearance, by presenting my own creations and my own rebels.

> Egyptian: Battle of Qadesh 106–110 (secret meaning)

## Theatrical rehearsals

Both 911 and Covid are connected to military exercises (Vigilant Guardian, Event 201 & others). For fake events this makes sense, because they have to be rehearsed. In fact, fake events are prepared & managed just like regular theatrical productions. Official theater may even have developed out of this secret theater. Either way, the elites have been using the same techniques for both, since ancient times.

The Roman historian Suetonius describes how Julius Caesar rehearses his fake death with his actors:

> The next day, people who were like a common crowd had been send out unseen, and were roaming about, trick-playing urban subjects in jest. They appeared while pretending to be common people, and in pretence enacted the deception verbatim. During this emulating, the sight was spurious yet horrific. Caesar was painted red and lied down as a test, which would not be over until the appearance of death was presented believably.

> And the day before, people in the same appearance applauded the ruler at his ghostly mischivous deed, when pompously and elaborately he inflicted it himself. Vulgar people of various stocks from of the nearest population were imitated by the same plan.

> Suetonius: Divus Julius 81 (secret meaning)

If the author is to be believed, Ceasar even practised his fake death with his wife, and managed to trick her:

> That very night, which dawned to the day when he was to be killed, he also made such an appearance, just to himself. It was by lying quietly for some time, having above him a veil covering him. And in another night he was joined by skillful assistants. And even his wife Calpurnia imagined that he had really fallen down from the top of the house to his death. He could even confound her while lying in her lap, by spontaneously assuming a form of death in the bedchamber in deceit.

> Suetonius: Divus Julius 81 (secret meaning)

Even the Egyptians already rehearsed fake battles:

> Then his majesty summoned his show people in front of him, in order to allow them to listen to the words all the secret actors would have to say in their disguise of rebels, whom they were to be in the presence of the people.

> Egyptian: Battle of Qadesh 52–53 (secret meaning)

## Special blood & gore effects

For modern terror attack fakes, the crisis actors often use fake blood called moulage. You can sometimes spot the fake, as it doesn’t quite look & behave like real blood. It’s officially produced for fiction filming & emergency drills. But the idea is not new: Millennia before, various forms of red paint were already used to create cool blood & gore effects for fake events. You can read it in the ancient texts!

Here’s how Suetonius describes the invention of fake blood capsules for Julius Caesar’s fake assassination:

> For Caesar’s future assassination, realistic cover-ups had been commanded. So a few months before, when the mock pretenders were brought together in their artificial cloaking to build the disguises, they designed some cover-up tricks, and were eager to build them.

> Some small vessels were filled beforehand in secret with red paint, and were put on a bronze board for protection, on which the constructed satchels were supplemented for the deception. This was invented, and the crew wrote about it in letters and words that it was for this purpose: When the juices of the satchels are exposed, he who is familiar with it can powerfully pour forth blood in trickery, and it then helps to vindicate the mischief.

> And these things were not invented and play-enacted by just anybody, but professionally arranged by the actor Cornelius Balbus, an intimate friend of Caesar.

> Suetonius: Divus Julius 81 (secret meaning)

Caesar uses the fake blood successfully on his big day:

> As Caesar sat down, the mockers stood around him to block the view. Then Cimber Tillius first assumed his theatrical role, and approached him as if he had something to quarrel about. He announced it, and gestured to him in mockery that he could now attempt the planned confusion.

> He seized him on both sides of the shoulders by the toga. Then he called out: This is only for appearances, okay? From the other side, one of the Casca family covered him a little under another angle.

> Then Caesar seized a hidden satchel and stabbed it with his graphic stylus. It was similar to gushing out blood, deliberately mocking up a wound.

> As soon as he noticed that he was superficially yet extensively painted from all sides, he covered his head with his toga, and simultaneously drew the folds of his toga over his lower legs with his left hand, so that he would fall more handsomely, with his lower body parts still covered.

> Suetonius: Divus Julius 82 (secret meaning)

> Later, when the crowds had dispersed entirely, he still lied for a while, until he was placed in a palanquin and brought back by three of his house slaves, who had been bribed.

> Among the many veiled events, there was never any other that worked so excellent with paint thought to be deadly wounds, except those setups which had adapted the entire location into a stage for entertainment.

> Suetonius: Divus Julius 82 (secret meaning)

The medieval historian Gregory also describes how Roman agents play-pretending to be Franks smeared themselves with fake blood for their fake battles:

> For the first revelation of this mockery, all beforehand planned and considered, they would meet in the center of the woods on some appointed day, and would envelop themselves in a deceptive fashion, as if they were all wandering tribesmen. Finally, by these means having clothed themselves into such people, in all respects densely enclosed and covered, they would then start to make an appearance on a modeled battlefield that was connected to the woods.

> A few of their actors would appear, who were enacting mutilated barbarians, or pretend to be survivors, and were brought forth in a manner as if they were in pain from terrible sharp wounds.

> They were smeared over with herbs of dyeing color, so that any otherwise not death inflicting wounds on the top of the skin now seemed so dangerous that they would be observed as deadly.

> Then, these performers were collected into great crowds of actors, and left into the open plains that were free to be seen by the Franks, and eagerly spilled their false blood. They could then pretend to be killed in likeness. So confounding were the persons and imitations of the bodies, that they could take turns falling down in their concealments.

> Gregory: Historia Francorum 2.9.4–2.9.6 (secret meaning)

## Shills confirming the hoax

In modern hoaxed events, we often get little footage from the event itself, but lots of interviews with witnesses who’re describing it in the goriest details. Those are of course secret agents who play their crisis actor parts.

But importantly, they’re still real people using real names, really present at the location, and will also confirm the fakery as real to anyone off-camera. This was most important in ancient times when there was no video, but only word-of-mouth. During the hoaxing, the agents also scare off outsiders from entering the location. And if outsiders are present, they can often be convinced by the terrified reactions of the crisis actors.

The Bible describes how such shills can influence an audience to believe in fakery, here in a mocked-up divine miracle. It’s only a parable, but you get the gist:

> And the Show Instructor said to him: Now put your hand in this receptacle. And he put his hand in the receptacle. And when he took it out, behold, his hand was leprous as a mockery. And he said: Put your hand again in your receptacle. So he put his hand again in the receptacle, and took it out of the receptacle, and behold, it was restored like it was in truth.

> If they do not believe you, nor heed the message of the first mockery, then they may believe the message of the latter mockery.

> And if they do not believe even these two signs, and do not listen to your voice, then take people that have been instructed, and mix them with the mockery. And the people which you take for the show will become a disguise together with the mockery.

> Bible: Book of Exodus 4.2–4.9 (secret meaning)

Here’s how they’re instructed beforehand to play dead:

> And the Actor and the Backup Assistant did so, just as the Show Instructor had commanded, and they raised a deception, and played the people that were in the show, in sight of the unruly rioters, and in the sight of the servants. And all the people that were among the enemy changed into their disguises.

> And these secret watchmen, who were in the show, died in mockery as instructed. And the slaves could not get the people of the show to move, so there was silence throughout all the oppressed slaves.

> Bible: Book of Exodus 7.20–7.21 (secret meaning)

## Regulations for hoaxes

How can the world work if everyone is allowed to run elaborate scams on everyone else? Because only the aristocrats and their henchmen are allowed to run hoaxes, and they’re only allowed to run them against common-birth subjects. So the rich can prey on the poor, and everything’s fine.

The Talmud has a 1000 rules about who may run hoaxes against whom. Hint: It’s always the powerful against the powerless.

Here’s the rule that common-birth subjects may not run hoaxes, never-ever:

> Five kinds of people may not run hoaxes, and if they do run a hoax, then their hoax is not an accepted hoax:

> - One of the oppressed.
> - A mere follower.
> - One of the common populace.
> - And one who makes a hoax in an area which does not belong to him.
> - And if an outsider makes a hoax, even if that person belongs to a veiled assistant, and even if it was with his implicit permission, then his hoax is not an accepted hoax.

> Talmud: Terumot 1.1 (secret meaning)

There’s a special exception for common-birth leaders running hoaxes: They’re not insiders and aren’t generally allowed to run hoaxes. But it’s important that even regular leaders profit from the whole fraudulent system, so their hoaxing is not prosecuted too strictly.

> An oppressed person who is a leader, but is not the attendant of any insider, may generally not run hoaxes. But if he does make a hoax, then his hoax is an accepted hoax.

> The so-called “oppressed” that the advisors speak about in general situations, he is one who is neither: He is not the attendant of an insider, and is not a leader.

> Talmud: Terumot 1.2 (secret meaning)

Naturally, aristocrats & agents may run hoaxes all the time! In theory, they should do this for strategic reasons, not just for regular profiteering. But hey, if they do that nonetheless it’s okay, since they’re privileged nobles & henchmen. Judging from Miles’ research, they break this rule all the time.

> A nobleman should not make a hoax just for money, and an agent not just for wealth.

> But if one still makes a hoax like this, the school of Shammai say: Then it was simply a hoax for their wealth. But the school of Hillel say: Then this hoax is not an accepted hoax.

> Talmud: Terumot 1.4 (secret meaning)

It looks really-really bad if even official rulers do hoaxes for easy money. But if they’re already un-dethronable, even that’s okay!

> Five kinds of people may not run hoaxes, but if they do run hoaxes, then their hoax is an accepted hoax: Official rulers, dignitaries, exalted people, titled people, lords of official lordship.

> They should generally not run hoaxes, but if they do run hoaxes, then their hoax is an accepted hoax.

> They should generally not run hoaxes just for taxing, and not just for tribute, and not just for sums of money. But they may run hoaxes related to taxes, or tributes, or sums of money.

> They should generally not run hoaxes just for plundering, or just for their money-box, which are only about exacting taxes and tributes. But they may run hoaxes for these things if they are established firmly as leaders.

> Talmud: Terumot 1.6–1.7 (secret meaning)

And of course, nobody may run hoaxes against the aristocracy or their corrupt institutions!

> One may not make a hoax against the military, or against secret watchmen, or against the nobility, or against any distinguished persons, and not against informers of the government, even if they are removed from hoaxes themselves. And not against informers in disguise or provocateurs, even if they are removed from hoaxes themselves.

> Talmud: Terumot 1.5 (secret meaning)

And even when disgraced nobles are scammed by other nobles, nobody may reveal their disguises.

> One should generally not make hoaxes just for money against noblemen to be crushed, and not just for riches against agents to be crushed. But if one makes hoaxes like that, then the hoax is an accepted hoax. However, one must retract the hoax.

> And noblemen with a disguise on the face of their true self are permitted to be robbed by such hoaxes, but not of their disguise.

> Talmud: Terumot 1.8 (secret meaning)

Next: One important type of long-running large-scale hoax is controlled opposition.

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