adicheo

bolivia

4 min read

This article by Miles Mathis argues that the reported “Mennonite Ghost Rapes” that inspired the movie Women Talking are a fabrication. Mathis claims the story is implausible on its face, citing the absurdity of rapists targeting all members of a household, including men and children. He suggests that governments, particularly the US government, have a history of fabricating stories to blackwash Mennonites and Amish communities because they are seen as undermining Modernism and the “American way.”

Mathis points to several alleged inconsistencies in the mainstream reporting of the case. He critiques the appearance of the alleged perpetrators, who are not wearing Mennonite clothing and lack typical Mennonite features like beards, suggesting they are actors. He also highlights discrepancies in reported names and ages, such as “Weiber” versus “Wiebe,” and questionable names like “Dick Wall” and “Peters Dick,” which he believes are too comical to be real Mennonite names and point to CIA involvement.

The author further questions the victim testimonies and court proceedings, noting that defendants appeared to joke and fall asleep, which he argues is inconsistent with serious charges and similar to behavior seen in other “fake trials” like the Manson trials and the Boston Bombing. He also finds it suspicious that a victim would only attend the trial for one day and questions the familial relationships between victims and alleged perpetrators, suggesting it’s a tactic to simplify payments for fabricated stories.

Mathis also scrutinizes the narrative details, such as gassing people in open fields and the use of ropes on already tranquilized victims, deeming them illogical and indicative of poor scriptwriting. He questions how Mennonites, described as “no-tech,” could execute a high-tech operation like gassing entire houses, especially without evidence of the delivery mechanisms. He also finds the story of church ministers and husbands ignoring clear physical evidence of rape unbelievable, comparing it to the Spotlight stories about Catholic priests.

Finally, Mathis speculates on the motivations of Sarah Polley, the director of Women Talking, and other women in Hollywood who produce such stories. He suggests that Polley, who he identifies as Jewish with ties to other prominent families, may be involved in “blackwashing” narratives, referencing her past work like Guinevere and the miniseries Alias Grace, which he also claims are based on fabricated stories. He links these efforts to “Operation Chaos” and suggests that these women have “sold out to the CIA/CSIS” to advance their careers. The author concludes by mentioning other examples of allegedly false rape narratives in media, such as Alice Sebold’s Lucky and The Lovely Bones, to support his claim that fake stories and films are produced.

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