“The party told you to reject the evidence of your eyes and ears. It was their final, most essential command.” . . . “And if all others accepted the lie which the Party imposed—if all records told the same tale—then the lie passed into history and became truth.” — George Orwell (1984)
Of all the productions that defy explanation, perhaps the “Dancing Nurses” phenomena sits at the top of the manipulated mountain of covid theatrics.
At the height of what was being publicized as a health catastrophe caused by a lethal never-before-seen pathogen that supposedly loaded hospitals with dying “covid” patients, nurses all over the world began “spontaneously” performing obviously well-choreographed, well-rehearsed, vaudeville-style dances that were captured on premium videos and catapulted throughout the social media universe.
We kid you not. At the very moment the public was being told that hospital staffs were “overwhelmed” by the sheer volume of pathogen-plagued bodies stuffed into wards and overflowing into corridors, this surreal spectacle of nurses blithely bouncing and jiggling à la Las Vegas stood in stark contrast to the serious mood one would expect to be present in the midst of mass death.
Sold as a much-needed relief valve for hospital personnel (and occasionally other first responders) to release stress and improve morale during troubled times, these performances raised many an eyebrow. Rather than inducing our sympathy for harried doctors and nurses, they made us wonder how there could be two such mutually exclusive realities.
If the hospitals were so swamped, then:
* When did the nurses find the time to create and carry out these highly synchronized routines?
* How did the filmmakers round up so many participants—indeed, sometimes they featured dozens of frantically busy medical life-savers?
* Why were the videos often recorded in conspicuously empty hospitals?
Here are a few more questions we think you might be asking and wanting answers to:
* How did they pull off such sophisticated camera work?
* How did the cameraman get behind a helical to film dancers on the roof of a building with such professional-level skill?
* Given how many of these videos sprouted up in so many places at the same time, was this a worldwide spectacle of the phenomenon known as “spontaneous order”?
* Why, pray tell, did so many of the dancers make similar dance moves?
* Were all hospitals and fire stations directed on the same day to videotape their personnel doing virtually identical routines?
And another even more serious question:
Would any respectable hospital administrator allow for such frivolity during a real crisis of epic proportion? Surely it would reflect poorly on their staff. As if that indiscretion weren’t bad enough, for the dancers to gleefully twitch and twerk their bodies around on rooftops and down hospital corridors while people were dying in sick beds all around them seems borderline sadistic.
So, what to make of these creepy cabaret numbers?
In her attempt to unravel the mystery, UK journalist Jacqui Devoy addressed the audience of Celia Farber’s Substack page with two queries in the title of her article “Danse Macabre: Were The Dancing Nurses Actually Nurses? Were They Even Real?”
Fair questions, given that gargantuan public relations firms in league with corporations and governments were daily churning out huge doses of pro-covid propaganda.
Devoy discovered in her investigation:
“Most nurses I spoke to denied participating and said they wouldn’t have been allowed to even if they’d wanted to. I’ve also been trying to find the actors and dancers used for the videos. Nothing to report as yet.”
“So what was going on? Could the nurses have been played by actors? Former performer Caroline Sargeant @meek_caroline reckons so. ‘Having once been a professional actress/singer/dancer, I agree. You would get a brief via agent/casting site saying they wanted actors who could dance but were not professional (to look authentic). That’s what it looks like.’”
Others have gone further. Last month, Substack essayist “Lies Are Unbekoming” speculated that the pandemic dancing nurses phenomena was a form of global gaslighting, that the dancing nurses “served as a gateway drug to what would become a sustained campaign of reality distortion,” and that:
“Once populations accepted that initial contradiction, they were primed for more: masks that worked except when they didn’t, vaccines that prevented transmission until they didn’t, two weeks to flatten the curve that became two years. Each accepted absurdity weakened the public's capacity to trust their own observations.”
When we look back at the panoply of covid theatrics, they appear to be theater set decorations designed to induce a three-way response: confusion, fear, helplessness.
Was any of it real? Or was it all Pointillist propaganda?
The photos of dead bodies on the street in Wuhan; the dancing nurses; “patient zero”; the overcrowded hospitals; the refrigerated morgue trucks; the “cases” and “deaths”; piled-up coffins; on and on—every trick in the book.
The stories add up to a thousand tiny points. When looked at individually, they don’t appear to be anything resembling reality because they don’t make any sense. But blended together, as if by a skilled Pointillist painter, they’re designed to tell a believable story. Believable, that is, until the curtain is pulled back on the stage and we see a Potemkin pandemic.
CODA
Orwell recognized that language and knowledge expanded at the same rate, hand in hand. Our expanding thinking and language enabled knowledge to grow and strengthen; to deepen. And our language allowed us to share it and expand on it. The exact opposite of those who wanted it hidden from us for that very reason.
To maintain this stranglehold on mankind so tightly depends on the readiness of the population to keep believing everything they’re told by the governments that rule them.
To avoid this we need to actively seek truth. To question everything that is purported to be true but comes with no evidence of it being so. Intelligence grows by questioning, not by answering.
