Central Casting for the New World Order.

BUNKED!

Because sometimes the psyop is the conspiracy theory itself.

By Mason Freeman, Council Occulture & Memetic Theory Correspondent.

CAST FROM CENTRAL CASTING: When the Stereotype Plays the Role Too Well

Let me begin with a question no one seems to ask:

What if the conspiracy is the conspiracy?

Not the shadowy meetings, not the black helicopters, not even the actual crimes—but the idea of the conspiracy. Its packaging. Its familiar faces. Its near-perfectly-cast players who seem born to play their meme.

How would you know a villain if you saw one in real life? Surely, they wouldn’t wear a sleek futuristic robe, speak with a German accent, and address the globe about controlling its destiny through economic engineering.

Except sometimes, they do.

🧛‍♂️ Enter Klaus Schwab

The founder of the World Economic Forum appears to have come straight from a dystopian casting call for “Technocratic Overlord, Age 70+, Must Look Like He Eats Nanobots for Breakfast.”


A Klaus Schwab role reject:
“Pity. He had the brooch, the brow, and the barely-restrained contempt… but alas — no pointy ears, no menace. He just looks grumpy. One simply can’t signal global domination with
auricular angles like that.”

— Mrs. Begonia Contretemp

In one now-iconic photo, Schwab stands in what can only be described as a ceremonial villain cloak—pressed, patterned, and radiant with high-modern menace. If costume design is destiny, Klaus answered the call. He doesn’t even need a monologue. You already know what he wants: compliance, carbon credits, and curated apocalypse.

And maybe a bit of applause.

But the point is not whether he is a villain. The point is that we’re trained to see him as one the moment he steps into costume. Our narrative receptors light up like a slot machine: Jackpot! Villain confirmed.

Which brings me to our next player in this psychological passion play…

 “Phillies Karen” and the Home Run Heard Round the Meme World

At a recent Phillies vs. Marlins game, a father caught a home run ball and handed it to his young son. Cue warm-and-fuzzy Americana.

Enter: the Karen.

This woman (her identity now hotly debated online) approached the man and demanded the ball be handed over to her—despite the moment, the birthday child, the cheering crowd. He complied. She walked off with the trophy. The Internet erupted.

It wasn’t just what she did—it was how perfectly she did it. The haircut, the attitude, the self-righteous entitlement. If she’d been holding a venti iced latte and an HOA manual, the scene couldn’t have been more complete.

It was as if someone whispered: We need a Karen for this act. Please send her in.

And she was ready.

🎭 The Pattern Emerges: Performers in a Prewritten Play

Now maybe it’s nothing.

Maybe Klaus just likes his robes tailored sharp. Maybe the woman at the Phillies game just had a moment of ball-obsessed madness. But there’s something too neat about how these people fit their roles. Something precise. As if the stereotype came first—and the casting followed.

And once you start looking, you see them everywhere:

🔹 Sam Bankman-Fried – The Disheveled Boy Genius

Puffy hair, cargo shorts, dazed expression, and billions lost. He looks like he was grown in a Silicon Valley petri dish to play the “Oops I broke the global economy” role. His name is literally Bankman. And then… Freed.

🔹 Elizabeth Holmes – The Techno-Messiah in a Turtleneck

Her voice was deepened. Her eyes never blinked. She dressed like Steve Jobs and sold blood tests that didn’t work. Like a failed prophet from a biotech cult.

🔹 Greta Thunberg – The Climate Cassandra

Nordic, somber, braided. Staring down world leaders with the fury of a thousand teenage indictments. If Earth had a ghostly child emissary, it would look like Greta.

🔹 Jordan Peterson – The Stern Dad with a Lobster Bible

Canadian. Shaking. Speaking in riddles. Warns young men to clean their rooms and avoid totalitarian dragons. Archetype: The reluctant prophet of order.

🔹 AOC (Alexandria Ocasio-Cortez) – The savior of the future and the trigger of your uncle’s blood pressure.

Stereotype: The viral idealist. Earnest, dramatic, camera-ready—equal parts impassioned lawmaker and meme-generator

🔹 Rachel Dolezal – The Identity Vortex

White woman passes as Black. Taught African-American studies. Chaired an NAACP chapter. The postmodern identity crisis personified in one tragic cosplay.

🔹 Andrew Tate – The Villain from the Unproduced Matrix Sequel

Topless. Smoking cigars. Driving Bugattis. Spewing algorithmic misogyny while performing masculinity like it’s a Vegas residency. He is every villain your mother warned you about.

The Not-Quites.
“Darling, some of them were perfect. But you can’t cast everyone in the same psychodrama. Someone has to be left waiting in the hallway of history.”
— Mrs. Begonia Contretemp

The Real Plot Twist: They Make You Believe It

Here’s the unsettling theory:

The stereotype exists not to describe reality—but to shape your expectations.

And once your expectations are shaped, the roles get filled. Not by force, but by inertia. By algorithms. By memetic gravity. Maybe even by handlers—we’ll never know. But these players appear on cue, wearing the costume, hitting the beats, and triggering your preinstalled narrative reflex.

They become recognizable. And that’s the real trick.

Because once your brain registers, “Ah, that guy again,” your vigilance drops. You stop asking hard questions. You categorize, scoff, scroll, and move on.

That’s the power of a well-cast stereotype: it preempts dissent by making everything seem cartoonishly predictable.

And maybe—just maybe—that’s the point.

“The conspiracy is not the plot.

The conspiracy is the casting.”

—Freeman Mason,

C-of-C-C Occulture Expert

🕳️ If it walks like a duck and talks like a duck- – -maybe it was hired to be a duck.

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🔍 ALTDEF: Stereotype

n. A memetic shorthand used not for clarity, but for containment. Useful in predictive programming, scapegoat rituals, and narrative sedation. Often comes in costume.

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🗂️ Internal Description for BUNKED!

BUNKED! is not a traditional debunking column.

It investigates how conspiracy theories themselves are staged, stylized, and cast to serve as narrative control systems.

It turns “debunking” into another level of the con,

exposing the theatrical structure beneath.

(If this still sounds like a conspiracy theory to you—you may already be in the audience.)

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