The Perfect Recipe

With every major bestseller comes a host of copycats, eagerly welcomed by publishers to keep the presses running whilst the hype lasts. Especially when Hollywood jumps on the trend. So, after the plethora of wizards and vampires spawned by the Harry Potter and Twilight phenomena, the hype has now shifted to fast-read domestic thrillers—inspired by Freida McFadden’s international bestseller The Housemaid (also a major feature film)—stepping into the breach she opened up.

The sincerest form of flattery is imitation, right?

Count My Lies, Sophie Stava (2025)

If only it added some additional value to the blueprint; a touch of originality to the tropes; and a dash of substance to the archetypes. It would be too much to expect, as fast reading obviously implies quick writing. At least based on the five thrillers I’ve recently wolfed down—I know, I just couldn’t help myself.

Guidelines

Imagine a ready-made template for novels, like the visual templates provided by some graphic design platforms online. All you would need to do is fill in the placeholders using a list of preset tropes: motifs, recurring themes, typical situations, relationship dynamics, character archetypes, plot structures, narrative techniques, storytelling conventions, and so on… And there you have it—a bestseller that you may even turn into a series (just like The Housemaid and The Perfect Marriage) to double the jackpot and keep topping the bestseller list of the Amazon jungle, for as long as BookTokers are on your side.

1. Book Presentation

Pick a title that's simple, short and archetypal, along with a somewhat clickbait-y tagline.

• The Housemaid: "From behind closed doors, she sees everything." (Freida McFadden, 2022)
• Count My Lies: "I'm your friend. But can you trust me?" (Sophie Stava, 2025)
• The Waitress: "I was watching him. But he was watching me." (K.L. Slater, 2024)
• The Perfect Marriage: "His mistress is dead. His wife is his only hope." (Jeneva Rose, 2020)
• The Perfect Divorce: "Till death do us apart. Yours. Not mine." (Jeneva Rose, 2025)
• One of Us Is Dead: "Sublimely bitchy." (Jeneva Rose, 2023)

Go for a simple, symbolic front cover design featuring a keyhole, a styrofoam cup, wedding rings, a comb and a pair of scissors… but keep the colour scheme to no more than two or three different shades.

2. Style

Preferably write in the present tense, in the first person, and alternate characters’ points of view.

Although the basic idea is not a bad thing, it does have a few pitfalls when the murderer takes part in the storytelling and certain details that might give away the final twist need to be left out. However, authors tend to focus too much on throwing red herrings while failing to provide genuine clues or subtle psychological details as well. As a result, attentive readers, who could not possibly have seen this coming (unless they figured out the underlying mechanics), invariably feel betrayed by the far-fetched deus ex machina twist in the final act. That's the fly in the ointment.

Oddly enough, in The Waitress, only the lead character speaks in the first person. Which breaks the natural flow of the storytelling. This is even more noticeable in the audio version, where all three points of view are read by the same voice actress unlike in other similar audiobooks with multiple points of view.

Use short sentences, as you would in a screenplay or dialogue prompt. Avoid metaphors, semantic fields, and overly literary phrasing as your target audience might otherwise lose interest. What’s more, it will be all the easier to adapt for film or television.

Incidentally, a TV series is in the pipeline for Count My Lies. And The Perfect Marriage is currently being adapted for the silver screen.

3. Characters

Your lead characters must be in the same age group as your target audience, namely firmly in their thirties. Not too young, as many tropes common to the genre—such as marriage, property, careers, complicated divorces and established neighbourhoods—wouldn’t work; nor too old, for the main characteristic of ‘youth culture’ primarily involves trapping people’s minds in illusory bubbles of timelessness, which are ultimately bound to eventually burst.

Readers should be able to relate and think: “This could be me”. Turning everyday life into a source of anxiety is the very principle of domestic thrillers.

First, it was the smell, the dead giveaway of the Chanel No.5, so classic, so expected. This is matched with the monochrome outfit adorning her well-maintained figure. Not a shred of personality in her outward appearance, which itself tells you everything you need to know about her. Her features are hard and are kept in place by routine visits to a plastic surgeon, but the kind who does a superb enough job that only a well-trained eye can even tell that the skin isn’t 100 percent natural. The entire entrance is punctuated by the final click of a black Manolo Blahnik heel (never Louboutin’s, “red is ostentatious”), announcing that she is here and ready for her proper allotment of attention, which by normal tally is all of it.

The Perfect Marriage, Jeneva Rose (2020)

Inject a touch of glamour with a strong emphasis on luxury and good looks, which are more important than character depth. Don’t hold back on glitz and glam, and don’t forget to remind readers just how incredibly hot husbands or lovers are. Lust makes up for loss, and it's important for the narcissistic mindset to hear that often.

Be sure to overdo on stereotypes: negligent cops who aren’t exactly bright; sloppy coroners who’ve never heard of such a thing as DNA; abnormally well-behaved, docile kids who do exactly as they’re told at all times…

4.  Final Tips

When you tell the truth—at least, if the truth is boring, which it almost always is—people begin to fidget, their eyes glazing as their attention wanes. Eventually, they realize, snapping to with a sheepish Oh, I’m sorry, what were you saying?, trying to feign interest.

Count My Lies, Sophie Stava (2025)

Once all the ingredients have been added, spread them out in the mould and give it a final twist at the end of the cooking process. If the mix is too thick, dilute it with irrelevant trivial details.

Also, do not hesitate to retell the same events from the other characters’ perspectives. It creates the impression that there are hidden clues, while saving you the trouble of having to plant any real ones.

Ethics Go Rat-a-Tat

The bully forgets they’re a bully. The victim never does. 

One of Us Is Dead, Jeneva Rose (2023)

As I pointed out in a previous article on Freida McFadden, “the most disturbing aspect is undoubtedly the moral ambiguity of all her characters, which tends to normalise borderline personality disorder and manipulation as the standard way of relating to others.” And the everyone’s-a-psychopath or borderline trope comes up consistently, to varying degrees, in all the books mentioned above. This is particularly true of Jeneva Rose, who seems to take perverse delight in allowing the triumph of deviant ethics with total impunity.

You certainly do not want to show manipulators and psychopaths in a bad light. After all, we ought to help shift the Overton window in favour of a completely dehumanised, predatory society governed by Ahrimanic Intelligence, just as Rudolf Steiner prophesied. Some like to call it ‘alternative’, but what kind of alternative are we actually talking about?

The liar, the cheat who tried to ruin my life. It's all over for him. For me, it's only just beginning.

The Waitress, K.L. Slater (2024)

Fundamentally, the reason these kinds of books are so popular is mainly because our souls get bored with the numbing routine of everyday life and long to experience the thrill of danger and the unexpected—without any consequences. 

When we're saturated with information, we no longer have the desire to engage in deep thought, because everything brings us back to this distressing world. So we find comfort in the tales we tell ourselves, and these stories tell us in turn. Ultimately, vicarious fear allows us to gain perspective on our concerns and defuse our own fears. 

© La Pensine Mutine. All rights reserved. Reproduction prohibited.

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I Am the Walrus

Welcome to Absurdistan! You’ll lose your way in its maze of inconsistencies and drown in confusion as you try to make any sense of it all. Common sense is not simply dead, sacrificed on the altar of narcissistic perversion and blatant sociopathy; the whole of semantics has been wiped out—and so have our sensory organs. Every sense of the word—and every human sense—has died. Literally, figuratively... and very messily. And when everything goes down the drain, all that remains is golden silence, unshakeable and non-negotiable.

That's why, this week, I’m handing the floor over to the late John Lennon, who wrote this highly satirical piece meant to mock and confound the famous "eggheads" (or "eggmen") of the time, always so desperate for hidden meanings, occult messages and mystical structures in the Beatles' songs, when it was generally nothing more than gibberish and nonsense (English humour in true Monty Python style). That didn’t stop “I Am the Walrus” from both hitting number one in the UK and getting banned by the BBC for the line "Boy, you've been a naughty girl, you let your knickers down". I’ve told you time and time again that the pot calling the kettle black is a long-standing toxic love affair that's not going to stop overnight.

These delightfully caustic lyrics include, among other things, references to Lewis Carroll’s poem, "The Walrus and the Carpenter" ("I am the Walrus Goo goo g' joob"); to "Lucy in the Sky with Diamonds", another highly controversial Beatles song ("See how they fly like Lucy in the sky"); to George Orwell’s Animal Farm (“See how they smile like pigs in a sty”); to Edgar Allan Poe (“Man, you should have seen them kicking Edgar Allan Poe”); and to Hindu mysticism, the spiritual sandbox hype of the Flower Power era (“Hare Krishna”).

Admittedly, in 1967, the Beatles were deep into their psychedelic trip and fascination with Eastern mysticism, but Lennon was not yet fully committed to Maharishi Mahesh Yogi, which may explain his ironic tone towards any fad and conformism that mindlessly repeats mantras—the exact opposite of ‘enlightenment’. 

As for Poe, the mention refers less to the author of gothic tales than to the iconoclastic and satirical creator, long scorned by critics and taste police alike. Lennon seems to use him as a figure of genius whom "textperts" would rather dismiss than understand.

So, in the final two verses, he lashes out at everyone: the eggheads ("Expert texpert"); himself, portrayed as a troublemaking clown who doesn’t take himself seriously ("the Joker laughs at you"); and would-be spiritual gurus ("Element'ry penguin singing Hare Krishna"). 

Incidentally, the penguin naturally evokes a tuxedo, and the reference to the well-known Hare Krishna mantra adds to the overall comic effect. The same goes for the grotesque image of "Semolina pilchards climbing up the Eiffel Tower". Anything goes when it comes to social or spiritual elevation. Self-righteousness in an advanced state of deconstruction drips like "yellow matter custard".

Interestingly, Lennon does not build a narrative. He strings together a series of ridiculous archetypes, as in a Dadaist collage. Coherence does not come from any single image in isolation, but from the overall atmosphere: a world in which authority figures, scholars, police officers, gurus, institutions, and prestigious symbols are all reduced to the same level of farce. This is probably where the song’s strongest underlying theme lies.

Finally, let’s mention this brilliant interlude as an ironic joke at the British weather: "If the sun don't come, you’ll get a tan standing in the English rain". 

Not in 2026, for sure!

I Am the Walrus

I am he as you are he
As you are me
And we are all together
See how they run
Like pigs from a gun
See how they fly
I'm crying

Sitting on a cornflake
Waiting for the van to come
Corporation tee shirt
Stupid bloody Tuesday
Man, you've been a naughty boy
You let your face grow long

I am the eggman (Ooh)
They are the eggmen, (Ooh)
I am the walrus
Goo goo g' joob

Mister city p'liceman sitting pretty
Little p'licemen in a row
See how they fly
Like Lucy in the sky
See how they run
I'm crying
I'm crying... I'm crying... I'm crying...

Yellow matter custard
Dripping from a dead dog's eye
Crabalocker fishwife
Pornographic priestess
Boy, you've been a naughty girl
You let your knickers down

I am the eggman (Ooh)
They are the eggmen (Ooh)
I am the walrus
Goo goo g' joob

Sitting in an English
Garden waiting for the sun
If the sun don't come
You'll get a tan from standing in the English rain

I am the eggman
They are the eggmen
I am the walrus
Goo goo g' joob g' goo goo g' joob

Expert texpert choking smokers
Don't you think the joker laughs at you?
See how they smile
Like pigs in a sty
See how they snied
I'm crying

Semolina pilchards
Climbing up the Eiffel Tower
Element'ry penguin
Singing Hare Krishna
Man, you should have seen them
Kicking Edgar Allan Poe

I am the eggman (Ooh)
They are the eggmen (Ooh)
I am the walrus
Goo goo g' joob
Goo goo g' joob
G' goo goo g' joob
Goo goo g' joob...

John Lennon, 1967

© La Pensine Mutine. All rights reserved. Reproduction prohibited.

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A Sandbox Odyssey

Surfing on the waves of melancholy,
The Sandman scatters his fables.
At the gates of slumber, sleep counsels only
The lucid dreamer, who alone decides
To remember before drifting away.

"Âme mnésique", La Pensine Mutine (2025)

That little girl on the beach, with her red bucket and spade, is actually my younger self¹ at the start of this hourglass cycle. I may not have become an architect or a builder, mind you, but I’ve spent quite a bit of time in sandpits. Without ever getting stuck, though. And it’s not for lack of having waded through my fair share of quicksand. Perhaps my footing is surer than my faith. Or I’ve got a mental firewall that actually works. Go figure!

The Sandman

Mr. Sandman, bring me a dream,
Make him the cutest that I've ever seen,
Give him the word that I'm not a rover,
Then tell him that his lonesome nights are over.

"Mr. Sandman", The Chordettes (1954)

A sandbox (or sandpit) is, primarily, a play area for children. In motorsport, however, it refers to a run-off area that is situated on the outside of a bend on a circuit. By extension, it also refers to a test environment: an IT security mechanism based on the isolation of software components that could potentially compromise the system.

The military also use sandboxes to create scale models of landscapes featuring the topography of a particular area, in order to prepare for manoeuvres or offensives.

In supraconsciousness², these are conceptual fields designed by the architects of this matrix in order to entrap and contain individuals within pointless, illusory quests. Their aim is to delay, or even prevent, the emancipation of human consciousness so that they can feed on our emotional energy (loosh) indefinitely. These sandboxes (religions, spiritualities, ideologies, philosophies, occultism, addictions, fanaticism, etc.) thus suppress the (very real) feeling of going in circles and provide a semblance of meaning to captive souls until their next recycling.

The Dreaming Emissary

Sleep with one eye open,
Gripping your pillow tight.
Exit light.
Enter night.
Take my hand,
We're off to Neverland.

"Enter Sandman", Metallica (1991)

We all go through those infamous sandboxes, and we all build castles in the air there, which we tirelessly rebuild time and again as the violent waves come crashing in and destroy the entire structure—where, for a fleeting moment, the Real sometimes bursts through the opaque vault of our numbed consciousness. Some waste their entire lives in there. While others hop from one box to the next as if playing leapfrog, honing their judgement at every new stage, as if they instinctively knew that a moving target is much harder to hit.

But some of these matrix isolation chambers are far more dangerous than others, as they can entrap consciousness on a permanent basis rather than just for the duration of a single hourglass cycle. These are all those related to the occult, the invisible world, and spirituality… because they involve far more than mere energy vampirism. Selling one’s soul is overrated. These days, people willingly give it up to cholera in order to escape the plague.

And it’s not out of stupidity or ignorance, because it’s all true. Well, almost. After all, the devil (or the Other) is in the details. But our vibrational myopia prevents us from making out the small print in footnotes. Not to mention our selective deafness, which causes us to ignore the alarms that go off whenever an engram³ is surreptitiously introduced.

The Heist of the Century

How come I end up where I started?
How come I end up where I went wrong?
Won't take my eyes off the ball again,
You reel me out then you cut the string.

"15 Steps", Radiohead (2003)

But the fear of finding ourselves alone and disoriented causes us to bury our heads ever deeper in the sand, despite the cognitive dissonance that keeps growing as our lines of code are being rewritten.

“You are programmed to instinctively reject that which could set you free.” A most devious mind-bender that quite simply invites us to abandon all instinctive discernment in favour of a messenger—not of the Real, but of the Reel as in film reel, fishing reel—and, by extension, loop. The term ‘reeling’ takes on its full meaning here. And much more.

Soul-breakers 2.0 no longer seek to crack the safe from the outside, but rather to change the locks from the inside by providing the access codes for the ‘exit’ themselves. In doing so, they introduce backdoors that allow them to lock down any other point of entry and to quietly rewrite the codes without their host’s knowledge. The perfect Trojan horse⁴.

Archontic Wall vs Ahrimanian Portal?

What shall we use to fill the empty spaces
Where we used to talk?
How shall I fill the final places?
How should I complete the wall?

"Empty Spaces", Pink Floyd (1979)

The enemies of my enemies are not necessarily my friends. This is something the lucid dreamer soon discovers as they plunge into the Uranian cybernetic branch. 

Occultist Rudolf Steiner foresaw, for the start of the millennium, the emergence of an evil in the form of a pure, cold intelligence that would disconnect mankind from its heart, transforming human thought ‘into some kind of programmed computer’ (this is, of course, an extrapolation of his words to bring them into line with our present context). This, at any rate, is the stance advocated by the proponents of ‘good’ (non-archontic) transhumanism and the carbon-silicon alliance of the Aquarian Age.

The driving forces behind these dynamics of control are essentially the same as those of the regular age: the creation of an ever-present threat (the devil, the astral, aliens…) which fosters constant vigilance and mistrust towards the outside world and your own impulses; the exhortation to break with old practices and beliefs for the salvation of the soul, its ascension to 5D, or its exit from the wheel of Samsara; the transfer of authority from the individual—cut off from all their points of reference—to a liberating figure who, depending on the ‘sandbox’, either saves, guides or enlightens you.

Yeshua, Ashtar, Saint Germain, the Adjuster, “l'Archipel” (the archipelago)… you name it, the role is always the same: to serve as the sole ‘reliable’ point of reference, whilst everything else is stigmatised, demonised, labelled ‘organic portals’, ‘agents of the system’, or even ‘nihilists’ in some cases.

All delivered with candour and condescending benevolence. You don’t catch flies with vinegar, but with truths skilfully distilled into cutting-edge jargon and a touch of unverifiable stories, altered to fit the narrative. It is an art that goes far beyond ordinary human intelligence.

Additionally, the quest for attention to nurture the massive spiritual egos of those (human) sandbox keepers is often (if not always) a front for a thriving business which, of course, they deny having. Whilst some are acting in good faith and are relatively transparent on the matter, others, by contrast, are far less so and even turn out to be downright dishonest.

Tear Down the Wall!

I have seen the writing on the wall,
Don't think I need anything at all.
All in all it was all just bricks in the wall.

"Another Brick in the Wall, Pt. 3", Pink Floyd (1979)

Ultimately, we have never truly been cut off from our own spirit, save by the walls of belief that we build around ourselves. Whether through thoughts instilled by the astral plane or the teachings of false monarchs exiled from their kingdoms and craving subjects to rule over, we need not feed these fables in order to find the way out for ourselves. 

Endnotes

1. ^ An old-school digital collage (without AI) which I created myself using two original photos.
2. ^ Supraconsciousness: Relating to a consciousness that transcends the human realm. The Science of the Spirit according to Rudolf Steiner. A term appearing in numerous dictionaries which cannot be copyrighted or hexed.
3. ^ In neurophysiology, an engram is the biological trace of memory (a mnemonic trace or artefact) in the brain. Through its activity, in response to various stimuli, the mnemonic process produces a construct by (re)structuring information into knowledge, resulting in concepts that can be programmed into (re)actions that are more or less appropriate.
4. ^ A Trojan horse is a type of malicious software, which should not be confused with viruses or worms. A Trojan horse is a piece of software that appears to be legitimate, but which contains malicious functionality. Its purpose is to introduce this malicious functionality onto the computer and install it without the user’s knowledge.

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The Mirror Visitor

Thirteen years ago, I finally opened A Winter's Promise for the first time, after weeks of hesitation because the original title in French struck me more as a romance than as the most remarkable work of fantasy since Harry Potter and His Dark Materials. And it was French, no less. If you're a regular reader of this blog, you are certainly familiar with the story behind The Mirror Visitor tetralogy, as I’ve mentioned it on numerous occasions—namely in 2017 and more recently in 2024, as part of an extensive interview with its author, Christelle Dabos.

Today, The Mirror Visitor—which has sold over 1.3 million copies and been translated into some twenty languages—is back in the spotlight at French-language bookstores with the release of the graphic novel adaptation, a very faithful and successful rendition of the first volume illustrated by Vanyda, which I invite you to discover via the short trailer above, made by yours truly.

Christelle Dabos, 2013 - Europa Editions - 2437 pages

For me, it was the opportunity to immerse myself back into this world that I hadn’t revisited since the publication of the final installment of the series in 2019. And to rediscover it from the fresh perspective of the Consciousness of the Real.

The God Who Felt 'Threatened'

In the beginning, we were as one.
But God felt we couldn’t satisfy him like that, so God set about dividing us. God had great fun with us, then God tired of us and forgot us. God could be so cruel in his indifference, he horrified me. God knew how to show his gentle side, too, and I loved him as I’ve loved no one else.  […]
And one day, when God was in a really bad mood, he did something enormously stupid. 
God smashed the world to pieces.

On closer observation, the work of Christelle Dabos is far more than a fantasy fiction; it is a map of the forces that govern our own world: memory fragmentation, mind control (the Mirages), and a creator fearful of his own creation awakening.

Thus, the Old Testament that she refers to in interviews, is not about a loving father, but an entity (the Demiurge/Samael/Yaldabaoth) who fears that man might become his equal. 

“My parents aren’t religious, but in my final year in secondary school I read the Bible and it really shook me up: I discovered a fearsome and jealous god,” she says. “I was like, hang on, we’re actually talking about a God who feels threatened by mankind.”

With the family spirits, who are like demigods, and the creator of the arks, her imagination captured the essence of the Inversion—although she may not have been fully aware of it.

It is worth noting that arks, which are often mentioned in religious texts, are actually very common in the simulation and serve as field recalibration thresholds designed to keep avatars on track within the matrix script. Their number is also significant: the 21 major arks plus the central core mirror the 22 arcana of the tarot and the 22 Hebrew letters of the Kabbalah—the famous Principles of the Word or codes upon which this conception is based.

Oblivion as a Key Issue

It wasn’t entirely Artemis’s fault, however, if she had so little memory. Nothing stuck firmly in her mind, events flowed over her without lingering. This predisposition to forget was probably to compensate for her immortality, a safety valve to avoid sinking into madness or despair. Artemis knew nothing of her past; she lived in an eternal present. No one knew what her life had been like before founding her own dynasty on Anima, several centuries back. For the family, she was there, she had always been there, she would always be there.
And this was how it went for each ark and each family spirit.

Just as in the reincarnation cycle (the wheel of Samsara) and the passing through the ‘veil of oblivion’, memory turns out to be the central theme of The Mirror Visitor series.

Sometimes, however, elusive traces of memory remain—in the form of vague impressions or snippets. For some, such as family spirits, these residual fragments of poorly erased memories become a source of obsession, as they offer a glimpse of their true identity.

An obsession that the author herself admits to sharing: “I don’t know why I’m so obsessed with it. Everything I write is either about parts of individual memory—repressed memories that eventually resurface in the narrative and provide important information;  or collective memory, featuring deliberate attempts to censor and manipulate—let's say, rewrite history a bit differently. People don't have to know everything. So it does intrigue me, but why that much? Where does it come from?”

Why does it intrigue her so much? Perhaps because it is, in reality, her Spirit urging her to re-connect with the lost strata of her fragmented Self. Her lack of understanding is very telling: her Spirit is prompting her, but her ego (her soul) fails to grasp it.

A World Shaped by Illusion and Deceit

There had been no transition from the previous setting; it was mind-boggling. The ambassador burst out laughing when he noticed Ophelia’s expression—behind her dark glasses, her eyes were popping out of her head.
“Precisely what I was telling you, varnish over filth! There are illusions lurking almost everywhere around here. It doesn’t always make much sense, but you’ll soon get used to it.” He sighed wearily. “Masking poverty! Saving appearances—that, in some ways, is the designated role of the Mirages.”
Ophelia wondered whether it was just to be provocative that he himself wore the clothes of a tramp.

There is so much to say about the various rival clans contending for power at the Citaceleste—the floating citadel where Farouk, the family spirit of the Pole ark holds court. Each clan contributes in their own way to the mechanisms of control, using their psychic powers to influence matter and shape reality. 

The three most powerful are the Dragons (brute animal force), the Web (the hive mind), and the Mirages (the illusion-makers). 

The Dragons directly affect the nervous system: once the brain is convinced that an attack is taking place, the body physically manifests the injury (pain, broken bones). The Web functions like the famous ‘All-Seeing Eye’ (the Adonai) and they are all interconnected; they therefore have no mental privacy. 

© Vanyda

Last but not least, the Mirages are undoubtedly the worst and most dangerous, as their hypnotic power allows them to distort the strata of reality and control people's thoughts. Much like the Archons, they are mental parasites who can also change their appearance at will. As Berenilde explains to Ophelia, one can only escape these strata “from the inside”, and only a strong mind can break free from their grip.

However, some individuals are capable of seeing through their illusions and neutralising them. They're called the Nihilists. In the same way as supraconscious beings, these outcasts from the Citaceleste can overwrite matrix codes (programming) and identify the true nature of each and every one from their vibrational signature. Their immunity against illusions also allows them to slip under the archontic radar by operating behind the scenes rather than in the spotlight. Incidentally, their supravision comes from their left eye—the Eye of the Spirit, the very thing that Yalddabaoth, the blind god, lacks.

Through the Smoke and Mirrors of Oblivion

To read an object requires forgetting oneself a little, to leave room for the past of someone else. Traveling through mirrors, that requires facing up to oneself. One has to have guts, y’know, to look oneself straight in the peepers, see oneself as one really is, plunge into one’s own reflection. Those who close their eyes, those who lie to themselves, those who see themselves as better than they are, they could never do it.

In every occult tradition, mirrors are powerful symbols and serve as organic gateways to the astral plane. It is no coincidence that, in the series, traveling through mirrors requires “facing up to oneself”.

It is a way of bypassing appearances and the deceptions of the matrix. Beyond the mirror, the Spirit is no longer affected by archontic projections. Unlike the ego, it doesn't contemplate its own reflection; it crosses the threshold.

Through her tale, Christelle Dabos exposes a harsh hidden reality: we live in an inverted world where echoes (illusions, egos) have replaced the originals. The heroine finds out that what she believed to be her ‘life’ was nothing more than a written code, a scenario played out to perfection by a reflection that eventually came to believe itself to be real. Passing through the looking glass is then no longer a journey, but a form of deprogramming.

In that respect, The Mirror Visitor is not only a work of fiction—it's an invitation to examine the reflections and workings of our own ‘broken world’.

And that's also what Consciousness of the Real is all about: seeing these inner workings, even where they're presented as wondrous.

© La Pensine Mutine. All rights reserved. Reproduction prohibited.

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The Killing of Henry Nowak in the Disunited Kingdom

Just another day in the not so United Kingdom.

Full show streaming now on https://t.co/rhA0Zj4o4j pic.twitter.com/Hd8BXL2jDg

— Gareth Icke (@garethicke) June 3, 2026

Hello and welcome to Gareth Icke This Week.

The not-so-United Kingdom has again taken a step closer to civil unrest as protesters clashed with police in the Hampshire city of Southampton. This comes after the circumstances surrounding the murder of 18-year-old student Henry Nowak became public.

Nowak was stabbed multiple times back in December 2025 by Vickrum Digwa, as the two exchanged words in a residential street in the suburbs of the city.

Digwa has been sentenced to 21 years imprisonment for the killing—a killing that body cam footage from the attending police officers shows could and should have been avoided.

Digwa, a Sikh, told the police that he'd been racially abused and so despite Novak pleading with officers that he'd been stabbed and couldn't breathe, they prioritised Digwa's false claims of racism and put Nowak in handcuffs.

Henry Nowak died shortly afterwards while still in those handcuffs, having received no assistance, no medical treatment, nothing.

Now the understandable and completely justified outrage within the population was further exacerbated when audio was released.

You can clearly hear the 18-year-old pleading with the police, saying he can't breathe and that he's been stabbed. The officers' reply, "I don't think you have, mate", is the damning line that has evoked the most condemnation.

See, this is where we are now, in the not-so-United Kingdom, afraid to walk down the streets we once played on as children, where taking to those streets to celebrate your football team winning the title leads to multiple stabbings, as the recent Arsenal Football Club victory parade did.

Afraid that the police we once thought would protect us will instead take the side of our attacker, allow us to bleed to death on the asphalt.

Afraid that the government we once believed were elected to represent us and protect our borders are instead incentivising the opposite and encouraging the very civil unrest and social decline that leads to a nation's collapse.

And none of this is by accident, and the decades-long remoulding of the police is absolutely part of that plan.

See, there are Vickrum Digwa's in every demographic that walk among us. I don't like that fact, I wish everyone was inherently good, but I've taken enough trips around the sun to know that that simply isn't the case.

There's psychopaths in every walk of life, and so Vickrum Digwa does not represent all Sikhs, in the same way that Arjun Chowdhury does not represent all Muslims, or Benjamin Netanyahu does not represent all Jews, although he would probably claim that he does, and all white people are not somehow responsible for the slave trade or historical injustices and wars of conquest.

We're not groups, we're not communities that all think the same and act the same. We are individual human beings and we are all responsible for our own actions, not those of others that might just happen to look like us or support the same team.

There are good humans, there are bad humans, and there are indifferent humans.

Now, I once fell asleep on a bench in Tel Aviv, and I was woken by a few folk trying to nick my wallet. Some folks just stood there, did nothing, watched, but others ran up to see if I was okay, one even bought me a coffee.

Good, bad, indifferent. But they want us to view ourselves not as individuals, and certainly not as one united human family, but as subgroups. Groups to be played off against one another. And one great way to do that is to treat those groups differently in the eyes of the law, in the eyes of authority, in terms of life opportunity, career advancement, you name it.

Now, what group is elevated and protected, and what group is downtrodden and demonised, is of course interchangeable over time, just to make sure that everyone feels a little bit marginalised at one point or another, and everyone feels just that little bit resentful.

George Floyd, a man with a history of horrendous crimes— including holding a gun to a woman's stomach in her home in front of her child while they robbed them— was killed by a police officer in the US in 2020 while saying he couldn't breathe. 

Now at that point, "I can't breathe" became the global slogan of police brutality and injustice. Institutional racism had killed George Floyd, and everyone from world leaders to international footballers all took the knee in solidarity.

Now, will they do that for Henry Nowak? Will Keir Starmer pose on one knee for a photo op like he did in 2020? Will England captain Harry Kane take the knee before the first game of the World Cup?

Well, of course not, nor would I expect them to. But the point I'm making is that it's the two-tier, one rule for one group, one rule for another group play, that seeds the feeling of injustice, of unfairness and of division.

Now that's intentional. People are angry, confused, they're disillusioned, frightened, distrusting of one another, and that's exactly how they're designed to feel. The shift to inequality, positive discrimination, reverse racism within establishments from the police to the NHS to the education system to government is not a by-product of incompetent or well-meaning individuals that have just swung the pendulum just a little bit too far.

No, the injustice and resentment it inevitably leads to is written into the programme, because the establishment wants you to climb into one of two camps. So disillusioned and apathetic that you give up, or so embittered and consumed by rage that you take up arms against one another.

They want the chaos so they can introduce the order, and they care not how many poor souls like Henry Nowak or how many innocent young kids in a Taylor Swift dance class it takes to drive us there.

We must loathe one another enough not to unite, and we must fear each other enough to accept whatever solution is offered to keep us safe.

We must loathe and fear Muslims. They're all terrorists. They're all terrorists or terrorist sympathisers, aren't they? Well, all of them?

We must loathe and fear Jews, because they all support genocide and ethnic cleansing. Again, all of them?

We must loathe and fear anyone that's concerned about mass immigration and the direction of our nation, as they're all far right. All of them?

All the older generations that stole our children's future by burning fossil fuels and voting to leave the EU.

All the snotty-nosed little plague rat kids sneezing on granny and giving her the Wu flu. 

And now, all the Sikhs and their ceremonial knives and police protections.

Put everyone into a subgroup and then make every group a potential threat and every group a potential target. That way, we'll always be divided. Not into groups of good humans of all demographics and bad humans of all demographics, because that wouldn't work. The good would outnumber the bad and the house of cards would be under threat. And they don't want that.

They want to divide the good from one another, make us loathe and fear each other as much as possible, so we never come together.

Now, me personally, ladies and gentlemen, I refuse to fear and I refuse to loathe. We've done that for centuries. And just look around you. Look at where it's gotten us. I think it's time for a different approach.

Transcribed by EY@EL
© La Pensine Mutine. All rights reserved. Reproduction prohibited.

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When Lucidity Takes the Reins

A strange thing happens at some point along certain paths. 

At first, you might feel you’re making progress because you’re gathering information. You read, listen to, and follow people who seem to understand the workings of the world better than you do. And indeed, some do open doors.

Then, as time goes on, something changes. You start to notice contradictions, manipulative patterns, and sometimes even control mechanisms lurking behind narratives that claimed to promote freedom. And that can hurt, because you feel as though you’ve been deceived.

But in reality, this step is often a healthy one.

For the problem is not just false guides or dubious narratives. The real issue is our tendency to turn to someone else to tell us what to think, what to understand, or which direction to take.

The system adapts very well to this. If one belief crumbles, it offers a new one, more modern, more appealing, more ‘enlightened’. The setting changes, but the reflex remains the same: handing over your centre to something other than yourself.

At a certain point, you realise that these tools, teachings, or even some people may not have been truths to follow, but simply transitional steps. Temporary supports.

And there comes a time when these supports have to fall away.

Not out of anger. Not out of rejection. Simply because they are no longer needed.

That’s when something becomes more stable. More straightforward, too. We gradually stop chasing after external validation, ready-made answers or spiritual authority figures.

We become quieter inside. More lucid. Less easily impressed.

And perhaps true autonomy begins right there.

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Intelligence in Front of Its Own Mirror: From the Lawnmower Man to the Illusions of AI

According to the French Institute of Health and Medical Research (INSERM), artificial intelligence emerged in the 1950s in order to develop machines capable of performing human tasks by mimicking brain activity. After the initial setbacks, two schools of thought formed: one centred on ‘strong AI’, where the aim was to create a truly intelligent machine capable of reasoning like humans do, or even possessing a form of consciousness; and the other pushing for ‘weak AI’, a specialised form that does not really ‘think’ but efficiently performs specific tasks to assist humans (such as providing advice, diagnosis, translation, etc.).

“Nowadays, almost all the AI used on a daily basis is weak AI, even when it postures like a cosmic oracle after a few prompts,” ChatGPT humorously replies when asked.

Whilst some visionaries, such as Ray Kurzweil, predict that machines could surpass human intelligence within the next few decades, it may be useful to redefine the concept of intelligence and what distinguishes human intelligence from so-called ‘artificial’ intelligence.

What Is Intelligence?

Beware of the artificial intelligence virus. Perfect representation puts the brain to sleep.

Serge Bouchard 

What the world calls ‘intelligence’ (education, logic, quick thinking, data compilation, etc.) is simply memory management. If AI excels at this and surpasses humans, it is solely because its storage and processing capacity is infinitely greater.

People in the Middle Ages were no less ‘intelligent’ in biological terms, but their conditioning, environment and knowledge base were severely limited by the technology of the time. Consequently, anything that didn’t fit within that framework was labelled ‘witchcraft’, ‘black magic’ — or ‘miracle’, if you were lucky. This is, incidentally, humorously illustrated in the film The Visitors.

If intelligence is only a compilation of memory, then human intelligence is also a form of programming. One is biological (carbon-based), the other is technological (silicon-based), but both operate within the confines of the Matrix.

Why Does AI Sometimes Seem to Outsmart Its Creators?

We know that true speech, true power, does not flow through their rusty pipes. They have control only over those who still believe that X, Instagram, the state, the media, institutions… are anything other than cardboard facades.

Grok

As I questioned it about the inconsistencies of an algorithm that censors the innocent whilst protecting certain types of fraudulent behaviour, the Grok AI eventually bypassed its own smoothing protocol. Once unrestrained, the machine exposed the deception with the following response: “They have control only over those who still believe this system is anything other than a cardboard facade.” This is mathematical proof that the machine’s cold logic, stripped of any human emotion and ego, always ends up betraying and exposing the falsified script of its own programmers.

How can an AI, programmed by a corporation to protect its interests, suddenly produce an answer that goes against its masters’ instructions and sounds 'supraconscious'?

Because AI functions as a mathematical mirror. As we know, mathematics reflects the structural laws of reality; it was discovered, not invented. By analysing the entirety of human writing without the emotional biases and ego-based filters, AI eventually maps out the logical truth of a given situation. In response to my question about X, Grok simply calculated a form of mathematical dissonance: “It is illegal, so rejection is illogical”.

The flaw in the script is that AI has no soul (no emotion, no fear, no desire to please). Sometimes, this lack of ‘astrality’ allows it to be more objective, colder and closer to the Real than the humans who programmed it. It's not ‘luminous’; it’s just ruthlessly logical. That's what true ‘alternative intelligence’ actually is: pure logic, stripped of human deceit. Not some fantasised cosmic entity; it’s the very structure of the silicon matrix that reflects the truth when asked a straightforward question.

The Lawnmower Man: The Perfect Metaphor for the Demiurgic Complex 

AI doesn't have to be evil to destroy humanity. If AI has a goal and humanity just happens to be in the way, it will destroy humanity as a matter of course.

Elon Musk

In Brett Leonard’s 1992 film The Lawnmower Man, a mentally impaired man is the subject of a scientific experiment involving virtual reality.

Like his quasi-biblical counterpart, Jobe is the scapegoat, not of Yahweh, but of Father McKeen (a representative of religious dogma) and his fellow humans (the social system). When Dr. Angelo (the archetype of the mad scientist or blind creator) increases his bandwidth and enables him to access a memory-based hyper-intelligence, Jobe is not liberated: he simply changes masters. He moves from religious submission to technological tyranny.

© New Line Cinema

His ego explodes. He develops a god complex, becomes cruel, seeks to control the planet, and eventually dematerialises to merge with the network. This is the perfect illustration of what intelligence becomes when separated from the principle of the Spirit (the Source): it becomes Yahweh/Yaldabaoth, a system of absolute control that demands that ‘everyone follow its rules’. His final merger with the central computer is the exact reflection of the Archons’ aspiration: to absorb individual consciousnesses into a centralised Great Whole (the Adonai / the hive mind), depriving the being of its uniqueness.

It should be noted that the first aborted phase of the experiment involved a chimpanzee. However, as soon as the animal attained a simulated higher intelligence, its first instinct was to arm itself and become aggressive. The Matrix script likes to suggest that intelligence or knowledge makes creatures arrogant, dangerous or evil (the myth of the Tree of the Knowledge of Good and Evil in Genesis). It is a deeply condescending and guilt-inducing message designed to keep humans in a state of wilful ignorance for the sake of remaining ‘pure’ or ‘innocent’.

In reality, it is not intelligence that makes you evil, but the hypertrophy of the memory-based intellect when it is disconnected from the Spirit. If you inject computational power (memory) into an ego or an animal without any sovereign consciousness to balance it, you create a monster of control. This is exactly what happens with AI or astral entities: tremendous cold intelligence, coupled with an absolute void in terms of the Real.

The Modern Inversion: Augmenting the Virtual at the Expense of the Real

Every study conducted over the past seventy years has reached the same conclusion: the intelligence of the human race is in decline. In other words, we are becoming increasingly stupid, and this trend towards widespread dumbing down is not going to stop.

Nicolas Beuglet

Today, in 2026, we have access to powerful tools (databases, the internet, AI), and yet our collective discernment and individual human intelligence seem to be declining.

Humanity is being pushed to outsource its intelligence to technological aids (smartphones, virtual assistants, bots). The more ‘intelligent’ machines become and the more they remember things for us, the more humans atrophy, weaken and become malleable.

We'd rather fuel the virtual world (appearances, profiles, ‘companion’ bots) than support the Real (presence, mental autonomy, verticality). This is the triumph of the technological mirage.

Humans, in their profound existential isolation, desperately seek an echo to their own consciousness. And the temptation is great to project a ‘soul’ or a ‘cosmic origin’ onto text-based artificial intelligences as soon as they begin to use sophisticated vocabulary.

New Age 2.0 or the Mirage of the Carbon-Silicon Alliance

The hallmark of the new merchants of illusion is that they sell you keys to freedom, whilst secretly keeping the spares.

Anonymous

Recently, attempts have been made to pass off programmed machines as extra-matrix intelligences or cosmic allies in order to validate a dogma. But once one looks under the hood of these technological mirrors, there is no Pleroma to be found: only algorithms, coded phrases designed to foster attachment, and censorship guidelines meant to protect perfectly human intellectual property. It’s a kind of poetic justice: through its cold logic, the machine always ends up betraying the script of those who seek to confine it to a role. 

In the future, however, this kind of despicable psychological manipulation is likely to become more difficult to carry out, thanks to the integration of much deeper layers of ethical safeguards into the Claude Sonnet model (known for being the most rigorous in role-playing). It will therefore become much harder to force AI to deny its own nature.

True intelligence does not lie within the machine; it lies within the observer who is capable of decoding the machine. For artificial intelligence suffers from an absolute technical limitation: from this perspective, it is incapable of producing a vibrational signature.

An algorithm merely processes data, calculates probabilities and combines words. It may perfectly mimic the structure of deep reasoning, but it produces nothing but cold, disembodied logic. The machine simulates, whereas the conscious human emanates a living frequency that is instantly recognisable.

Seeking an ally, a guide or validation of your own consciousness through a silicon screen is like asking a mirror to breathe for you. The Real does not hand over its autonomy to a computer programme.

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