Scions of Zion: Parasocialism, Superculture & the 2nd Matrix

Nietzsche, The Beatles, Trump, & the “2nd American Revolution” Snow Job

Feb 12, 2025

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“Elites abuse metaphysical knowledge (and occult or psychic powers) to control the masses; in the process, they pass down even more debased versions of that knowledge to the masses, handing out matches in a nursery, with the certainty that people will sabotage their own spiritual development and become increasingly susceptible to, and reliant on, external forms of guidance and control—all the while believing they are becoming ‘liberated.’” —from Big Mother: The Technological Body of Evil (reviewed here)

Superculture: The hidden causative dimension of culture (sim: supernature).

Superculture only appears distinct from culture due to our lack of understanding of the true nature of culture.

The idea of “the supernatural” suggests invisible organizing principles behind the natural world. Superculture likewise indicates hidden forces, agencies, and principles that give rise to culture (c.f. “cultural engineering”).

Congruent with the notion of superculture is that of a superclass: a cryptocratic body or lineage, whose activities, philosophies, and goals combine to create the superculture, and—by extension—what we think of as human culture and society.

Superculture creates culture in a similar fashion to how bacteria use a growth medium as a substrate to generate a suitable environment. The bacterial superclass uses human beings (and social groupings) as a growth medium via which to “channel” and grow a culture on which to feed.

This process might be compared to how a parasite possesses a host body and turns it into a more conducive or “friendly” environment, even if that means destroying it.

As with the so-called supernatural, we are generally only able to observe, track, or understand the superculture via its effects, via persisting or recurring trends, memes, standards, values, symbols, and narratives, all operating together within visible culture.

Et Tu, Friedrich?

To better understand how superculture works, let’s take the influence of the German philosopher Friedrich Nietzsche.

It isn’t enough to look for the evidence for this influence in the culture at large, because its traces are well-concealed. One has rather to look at agents of popular culture who were deeply influenced by Nietzsche and who have themselves been enormously influential, such as Aleister Crowley, Ayn Rand, Jim Morrison, and David Bowie, all of whom adopted (and adapted) Nietzsche’s idea of the Übermensch and “the will to power” into more accessible, populist forms.

The question of whether Nietzsche’s influence is congruent with his original intentions is mostly irrelevant. More relevant, though still difficult to gauge, is how closely the popular adoptions and adaptations of Nietzsche’s ideas approximate what Nietzsche actually believed.

An obvious example would be that Nietzsche loathed German antisemitism, and expressed admiration for the Jewish spirit as an example of the raw will to power.1 Yet this didn’t prevent Hitler and the National Socialists from using Nietzsche’s writings as inspiration (and justification) for their policies, or as the basis for their belief in an Aryan Übermensch.2

Another obvious example would be the so-called “death of God.” In The Gay Science, Nietzsche wrote the following passage:

The madman jumped into their midst and pierced them with his eyes. “Whither is God?” he cried; “I will tell you. We have killed him—you and I. All of us are his murderers. But how did we do this? How could we drink up the sea? Who gave us the sponge to wipe away the entire horizon? What were we doing when we unchained this earth from its sun? Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying, as through an infinite nothing? Do we not feel the breath of empty space? Has it not become colder? Is not night continually closing in on us? Do we not need to light lanterns in the morning? Do we hear nothing as yet of the noise of the gravediggers who are burying God? Do we smell nothing as yet of the divine decomposition? Gods, too, decompose. God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?”

Once it was incorporated into mainstream culture, all that was left of this passage was “God is dead.” Yet there is nothing at all in the original quote to suggest God died of natural causes, as the new atheists tell themselves and anyone who will listen; rather a hideous murder that hurled God’s killers into an infinite abyss. Nietzsche’s statement was more of a cosmic lamentation than a declaration of freedom; above all, it raised the questions: “What are the consequences of the death of God? And can we live with them?”

The Übermensch was the name Nietzsche gave to man’s destiny following the death of God. He saw it as a necessary response to this crisis, that Man must become great enough to bear the burden of killing God.

Compare to Ayn Rand’s callow, capitalistic adaptation of the Übermensch as a supremely self-willed individual, willing to commit wanton murder as proof of his superiority to, and distinctness from, the crowd. Maybe Rand also admired Crime and Punishment’s Raskolnikov and supported his “Napoleonic complex” (that a superior man has the right to kill his inferiors in order to advance)? Yet Raskolnikov was an inversion of Nietzsche’s Übermensch, and Nietzsche wrote that he owed Dostoyevsky “a debt of gratitude” for providing “the most valuable psychological material I know.”

Is it fair to say, then, that the cultural decadence of National Socialism and Ayn Randism reduced Nietzsche’s ideas to corrupted shells of themselves? Or need we ask to what degree his writings accelerated that process of decay, making them not just corruptible, but somehow self-corrupting? (Nietzsche was, at least in some sense, a forerunner of postmodernism, with his “perspectivist” attack on objective reality, and his “transvaluation of all values.”)3

It seems indisputable that the superculture deemed Nietzsche’s ideas useful enough to its long-term psychosocial engineering game to bestow them with the necessary status to permeate global culture; to the degree that Nietzsche is now on school curriculums. What would Nietzsche think about his work becoming instrumental in reshaping (or corrupting) culture into a more suitable instrument of supercultural agendas?

Together, the death of God and the ascension of the Übermensch make up the very spine of superculture. Was this really the transvaluation of values Nietzsche had in mind?

If not, does that make Nietzsche himself an unwitting instrument of these agendas?

Constituents of Superculture

If the natural world is both the creation of the supernatural world and what conceals it from us, so culture is likewise a byproduct of superculture that blinds us to superculture’s existence.

Culture is the cloak, as well as the body, of superculture.

The values and constituents of superculture trickle down as culture via a number of visible channels:

The organized malevolence of high-level conspiracies, crime cartels, intelligence agency malfeasance, political corruption, medical malpractice, widespread sexual abuse, etc.
In the form of corporate-military technological and pharmaceutical developments
Through ideological programs and philosophies and political, artistic, and social movements
Through celebrity culture and the reification of “genius” and creative “expression”
Through fictional or “pop cultural” narratives and imagistic representations

As an example of the last, big-budget superhero movies use computer-generated imagery and mythic storytelling to promote the idea of an “evolutionary leap” in human potential (c.f. Aldous Huxley and the Esalen Institute) that involves superhuman powers (c.f. Jeffrey Kripal).

These works are an almost literal—if childish—signifier of the values, methods, and goals of superculture.

Superculture is fundamentally anti-life, and promises of “superhumanity” are but one of the ways in which it disguises its true nature and intent, thereby continuing to shape human culture unaddressed. Another is in the form of salvific medical “cures” or experimental “vaccines,” as well as other phantasmagorical technological solutions—such as “neurolinks” and space colonization (c.f. Elon Musk, and Donald Trump’s Stargate).

The human form—created in God’s image—is the enemy of superculture. This is because, as in these superhero myths of transformation, it provides the raw materials out of which the superculture forges for itself an artificial body.

Dr. Frankenstein (in a supercultural text par excellence) disinters the body parts of God (Osiris), and stitches them together to create a monster. The result is “a god” birthed by science, by knowledge, the intellect, the will to power, and the Luciferian imagination: life uncoupled from Nature and from God.

A revolt against Heaven.

Anti-Life Forms

In superhero movies and comic books, transformation from a human to superhuman state usually involves some sort of trauma (and/or contamination), via traumagenesis. Traumagenesis is the intentional use of trauma to cause psychic (and/or cellular) fragmentation and access the unconscious “psychic” energy of the victim-subject, harnessing that force as a kind of “superpower” (c.f. Whitley Strieber and Jeffrey Kripal, Prisoner of Infinity).

This is the prevailing M.O. (modus operandi) of superculture, most widely represented by stories of MKULTRA “mind control,” as well as the widespread cases of organized child sex trafficking and “Satanic” ritual abuse (c.f. The Vice of Kings).

Perhaps the most mundane—and popular—example of traumagenesis is drug and alcohol use, specifically psychedelics, which are a kind of self-applied bio-hack of the psychesoma, via the ingestion of powerful intoxicants (spirit-possession).

Such practices implicitly connect ordinary people to the hidden practices of human sacrifice that are the ritualistic glue of superculture, and hence the most consistent feature of organized malevolence.

Since an innocent child is the clearest representative of the image of God in human form, it is this innocence (closeness to God) that must be destroyed, for the Übermensch to be born.

(For Dostoyevsky, the one unforgivable sin was the corruption of a child.)

Supercultural practices are represented—usually poorly—within popular culture by the many forms of so-called “conspiracy theory.” At the same time, confoundingly, they give rise to “conspiracy culture” (such as QAnon and its current upgrade of “Trump vs. the Deep State”). Conspiracy culture is one of several primary aspects of the 2^ndMatrix. Other aspects are New Age philosophies, psychedelics, occultism, Ufology, pseudo-spirituality, and “transpersonal” psychology.

One example of how superculture shapes culture is social media, in which parasocial relations have replaced direct, unmediated social interaction, turning us into “parasocialites,” living vicariously through technological relations that are partially, and sometimes entirely, imaginary.

The so-called “global village” (which Marshall McLuhan warned about) ushers in a so-called “planetary consciousness” that is technologically-mediated. The message of “humanity” is a Trojan Horse for the medium of machine consciousness, or anti-humanity.

Teilhard de Chardin’s Christ-nöösphere is revealed as the technosphere of Antichrist.

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To simplify this slightly, if global culture roughly corresponds with the Matrix—a dream world that uses the energy of our attention to keep us enthralled to it—then superculture corresponds (even more roughly) with a 2^ndMatrix, one that generates the 1^stMatrix and is waiting to capture those who succeed in emerging from it.4

Superculture is a kind of “parasociety”—a parallel world—in which a predatory superclass of imposer-aggrandizers (c.f. 16 Maps of Hell) move, like farmers among livestock.

Examples of this parallel world can be found in accounts of organized sexual abuse (often with ritualistic elements) occurring “impossibly” in seemingly “ordinary” social strata like daycare centers, churches, and hospitals (c.f. Jimmy Savile and the BBC).

The 2^nd Matrix is when the values, principles, and methods of superculture are reformatted into a 1^st Matrix (cultural) context and understanding. For example:

UFOs that supply the evidence by which we determine their nature and purpose
Stage magicians who perform magic acts by drawing our attention to those elements that prevent us from seeing the trickery and perceiving only the “miracle”
Conspirators who create conspiracy theories about their own quasi-existence and feed them into the culture, as explanatory narratives for the people they are conspiring against (the so-called “Revelation of the Method”)
Occult principles and practices (including psychotherapy and advanced medical interventions) that belong to supercultural spheres of activity, flattened out into lower-dimensional versions of themselves that will always be misunderstood and misapplied.

All these are ways of giving matches to children, locked inside a barn full of straw, and then telling them, “This will set you free.”

Trump, Beatles, Conspiratainment Doublethink (a 2^nd Matrix Example)

To give a specific example (one I hope to delve into in the coming weeks), there are many people who believe in the broad-stroke but sparsely sourced conspiracy narrative about The Beatles as a culturally-engineered psyop from Tavistock and the Frankfurt School. While there may well be truth in this narrative, so far, I have yet to find solid evidence for it among all the glad-happy theorizing.

If extraordinary claims require extraordinary evidence, the Beatles-Tavistock narrative is extraordinary partly due to how popular it is, compared to how much evidence there seems to be to support it.

Does this narrative facilitate a deeper understanding of superculture, by revealing the 1^stMatrix as a lie? Or does it help to extend superculture’s spell, by replacing it with the more sophisticated and labyrinthine lies of the 2^nd Matrix? (c.f. The Memoirs of Billy Shears.)

To answer this question, let’s ask another one: How many people who believe the Beatles was a cultural psyop currently believe that Donald J. Trump is a thorn in the side of “the Deep State,” pitted against supercultural agendas in ways that are making history?

I would guess, quite a few.

So on the one hand, we have claims of an almost unimaginably sophisticated, ingenious, and elaborate psyop to create a massive cultural phenomenon that shaped western society but remains largely undetected to this day. On the other, the awareness, or admission, that such fantastically orchestrated perception management and stagecraft must, logically, be occurring in our present time (and be that much harder to spot) seems to be in vanishingly small supply.

Simply put: why do people who believe in such massively far-reaching psyop believe anything at all about cultural events?

Supercultural Snow Jobs

The notion of a US President being a loose cannon or infiltrant who was not previously given the green light by the system he supposedly infiltrated exemplifies a 2^nd Matrix framework and a superculture snow job.

This is from “Fool’s Gold: How Trump’s Populist Return Is a Trap for the Naïve,” by Neoliberal Feudalism:

The current danger is not from the shitlib, who has been rendered mute into a catatonic zombie state, serving as NPCs in idle mode (turned off by their media and “expert” handlers for the moment), but rather from the Trumpenprole who will get ultra-excited by Trump’s surface-level populist moves as he works meaningfully behind the scenes toward establishing the Palantir digital panopticon, regional integration into a continental superstate, and the Greater Israel project, all while engaged in a level of graft that will be unprecedented in American history.5

The doublethink that denies or avoids such obvious deductions is typical of dwellers of the 2^nd Matrix. It is also illustrative of how perspectives are generated that appear to be piercing the veil and seeing through the illusion of culture, when they are only perpetuating a deeper layer of illusion.

The irony is that the “Trumenproles” (ordinary people who believe DJT is a thorn in the side of deep state) are over-identifying with a tawdry bag of discarded deep-state skin-suits and becoming unwitting marionettes in a superculture theater. Worse, insofar as they are taking vicarious pleasure in seeing puppet-heads roll, they are identifying with the supercultural aggrandizers directing the bloody Punch and Judy show.

Here, perhaps, lies the most insistent, insidious effect of supercultural influence: by instilling people with the values and aspirations of the superclass, but no understanding or capacity to apply them, superculture turns “the people” into blunt instruments of it.

Donald J. Trump embodies the “democratization” of supercultural values—branded and marketed in apparent opposition to them—as the supposed means to “transcend” our limitations and realize our human potential.

Make America Great Again. Open the Stargate. Usher in the (nonced) Star Child.

The inmates of Matrix 1, believing they are fighting for freedom, level up and become the guards and gatekeepers of Matrix 2.

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