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This article argues that the Ghislaine Maxwell trial was a fabrication, citing a juror’s alleged misconduct as a manufactured event. The author, Miles Mathis, claims the juror, Scot David, being an employee of The Carlyle Group is the true revelation, linking him to a group the author describes as “Jewish criminals” involved in scandals and the defense industry, with connections to the Bin Laden family and 11. The author also points to Glenn Youngkin, Donald Rumsfeld, George Bush, and Dick Cheney as past associates of The Carlyle Group.

The article further suggests the trial was fake due to the use of aliases for most witnesses, which the author deems unconstitutional and indicative of CIA involvement. The author questions the testimony of Annie Farmer, noting discrepancies in her age and identity, and the involvement of her sister Maria Farmer with Jeffrey Epstein. The author suggests Annie Farmer may be a CIA agent based on her listed locations. The article also casts doubt on the credibility of Virginia Giuffre, nee Roberts, highlighting the improbable connection to Donald Trump through her father working at Mar-a-Lago and questioning the timeline of her alleged abuse and interactions with Ghislaine Maxwell and Jeffrey Epstein.

The author criticizes legal proceedings surrounding Epstein and Maxwell, including the non-prosecution agreement signed by Barry Krischer and US Attorney Acosta, and Virginia Giuffre’s subsequent public statements despite a settlement agreement, which the author argues would legally obligate her to silence. The article also analyzes Giuffre’s use of a butterfly symbol for her organization, interpreting it as a sign of “Intelligence.” The author further questions Judge Richard Berman’s actions in holding public hearings for Epstein’s accusers after his death, labeling it as “theater” and “Intelligence” work.

The article then discusses Prince Andrew’s settlement with Giuffre, framing it as part of a broader “#Metoo fraud” aimed at “emasculating the male sex” by a group referred to as the “Phoenician Navy.” The author suggests that the wealthy involved do not take these events seriously and that individuals like Andrew and Mel Gibson can be rehabilitated, unlike ordinary individuals. The author reiterates the notion that Epstein and Ghislaine Maxwell’s father, Robert Maxwell (real name Jan Ludvik Hyman Binyamin Hoch), were intelligence agents, and that Robert Maxwell faked his death to evade prosecution. The author concludes by suggesting the fake trial and Maxwell’s supposed imprisonment are intended to make the Epstein saga appear real and distract from actual events.

Finally, the author presents an analysis of a photograph of Sharon Tate, focusing on a small sculpture and interpreting symbols within it, such as Astarte and references to the “eye of Horus” and “Great Bear,” as coded messages from “Intelligence.” The author suggests these images are part of a deliberate messaging system by non-normal individuals interested in “theater and markers and cloaked messages.”

Summary with Marked Entities:

The article by Miles Mathis asserts that the Ghislaine Maxwell trial was fabricated, using the juror Scot David’s alleged misconduct as manufactured evidence. Mathis highlights that Scot David works for The Carlyle Group, which the author characterizes as a multinational asset management group composed of “Jewish criminals” involved in past scandals and the defense industry. The author connects The Carlyle Group to the Bin Laden family and 11, mentioning Shafiq bin Laden and Michael Moore’s film Fahrenheit 911. The article also points to Glenn Youngkin, Donald Rumsfeld, George Bush, and Dick Cheney as past figures associated with The Carlyle Group.

Mathis further claims the trial was a charade due to the use of aliases for most witnesses, which he deems unconstitutional and indicative of CIA involvement. Doubts are raised about Annie Farmer’s testimony, with the author noting inconsistencies and suggesting she might be a CIA agent, based on her personal and familial connections. Annie Farmer’s sister, Maria Farmer, is also discussed in relation to Jeffrey Epstein.

The article criticizes the legal handling of Epstein and Maxwell cases, specifically mentioning Virginia Giuffre (nee Roberts) and her improbable connection to Donald Trump through her father’s employment at Mar-a-Lago. Mathis questions the narrative of her alleged abuse and her interactions with Ghislaine Maxwell and Jeffrey Epstein. The author also scrutinizes the non-prosecution agreement involving Barry Krischer and US Attorney Acosta, and Giuffre’s subsequent public statements, arguing they contradict her settlement agreement and legal principles.

The author interprets Giuffre’s use of a butterfly symbol as a sign of “Intelligence.” Judge Richard Berman’s actions regarding Epstein’s accusers are also labeled as “theater” and “Intelligence” work. The article speculates on Prince Andrew’s settlement with Giuffre as part of a larger “#Metoo fraud” intended to weaken men, orchestrated by a group referred to as the “Phoenician Navy.” The author suggests that the wealthy are not serious about these events and that figures like Andrew and Mel Gibson are subject to rehabilitation.

The author posits that Epstein and Ghislaine Maxwell’s father, Robert Maxwell (real name Jan Ludvik Hyman Binyamin Hoch), were intelligence agents, and that Robert Maxwell faked his death to evade financial charges. The alleged fake trial and imprisonment of Maxwell are seen as attempts to legitimize the Epstein saga and distract the public.

Finally, the article analyzes a photograph of Sharon Tate, focusing on symbols like Astarte and references to the “eye of Horus,” which the author interprets as hidden messages from “Intelligence” that indicate a preoccupation with “theater and markers and cloaked messages.”

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