This article argues that the West Memphis Three case, which involved the alleged murder of three young boys, was a fabrication orchestrated by powerful entities. The author, Miles Mathis, begins by discussing Johnny Depp’s tattoos and his connection to Damien Echols, one of the convicted individuals. Mathis suggests that Depp’s friendship with Echols, along with shared tattoos, points to a deeper connection and a staged narrative.
Mathis then delves into the inconsistencies and questionable aspects of the case, including the names of the accused (Damien meaning “devil”), the low IQ of Jessie Misskelley and his contradictory confession, and the potential familial connections between the accused and witnesses. The author also highlights the alleged fabrication of evidence, such as a knife supposedly found with blood, which he claims was mishandled by filmmakers and police.
The article further scrutinizes the legal proceedings, particularly the Alford plea used for the release of the West Memphis Three, arguing it was a legal loophole designed to end the case without a true resolution. Mathis proposes that the case is linked to a larger “Theosophy Project” and involves prominent families and organizations like the CIA and HBO. He suggests that individuals like Johnny Depp, Peter Jackson, Eddie Vedder, and directors involved in films and documentaries about the case were either complicit or manipulated.
Ultimately, Mathis concludes that the entire West Memphis Three narrative was a manufactured event designed to instill fear and control public perception, questioning the authenticity of the convictions, the evidence, and the legal processes involved.
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The author argues that the West Memphis Three case was an obvious fake. He notes Johnny Depp’s tattoo that says SCAM and his interest in tattoos, including those seen on famous people. Mathis mentions Satanic symbolism and Freemasonic vows of secrecy. He contrasts himself with Depp, stating he is “unbranded.” He questions Depp’s choice of a Shakespeare quote for a tattoo and his connection with Marilyn Manson, who shares tattoos like “les fleurs du mal” from Charles Baudelaire.
The main focus shifts to Damien Echols, identifying him as the second individual under the title, and correcting the assumption that it was Jack Dorsey. Echols’ alleged birth name is Michael Wayne Hutchison. The case involves the alleged murder of three eight-year-old boys in 1993. Depp and Echols share a tattoo that says “Brothers,” and both have a Phoenix tattoo on their right hand. Mathis asserts the case was faked and that Hutchison is not a child murderer, suggesting Depp and Hutchison are fellow actors or “kissing cousins.”
Mathis criticizes the name Damien, linking it to “devil” and the movie Damien: Omen 2, suggesting a deliberate and unsubtle connection. He refers to the CIA’s involvement since the 1940s. Jessie Loyd Misskelley is identified as prisoner number two, with his surname Misskelley and middle name Loyd being noted. His alleged IQ of 68 is mentioned as being in the “moron” range. Misskelley is allegedly related to black Townsends of Earle, AR. He is also linked to Franklin Bartoush, whose grandfather was Robert E. Lee Baldwin, and Charles Baldwin, prisoner number three, suggesting familial ties to Baldwins, Kennedys, and Cheneys.
Vicki Hutcheson is named as a witness who testified that Echols admitted to killing the boys in a Wicca meeting. The author points out the coincidence of a Hutcheson testifying against a Hutchison. He claims Wikipedia hides the fact that Echols was really Hutchison. West Memphis, Arkansas is mentioned as a location where Damien Echols is not found in databases, nor are alleged family members like Jack Echols (aka Andy), Pam Echols (mother), or Lorri Davis (alleged wife). Prisons like Grady, Arkansas and Varner are also noted as not appearing in listings for Echols.
Mathis finds other locations associated with him, including Los Angeles, Pasadena, and Bowie, MD (a suburb of DC). He also mentions alternative names like Far F. Grace and Crushed Soul, calling them CIA code names. He questions if Echols is Michael Hutchison but finds no record in Arkansas. Lorri Davis is described as “exceedingly spooky,” twelve years older than Echols, and associated with Fort Polk, Fort Knox, and Suitland, MD (which is Joint Base Andrews, DC).
The author notes that Echols was sentenced to death in March 1994 and questions why he is still alive given Arkansas has the death penalty. He considers stories of people on death row for years to be faked. The Alford plea is highlighted as a key element in their release after 18 years. The initial request for a retrial in 2007 based on new DNA evidence was refused by Judge David Burnett.
The article mentions the book Paradise Lost and the filmmakers Joe Berlinger and Bruce Sinofsky. A knife, allegedly the murder weapon, was given by West Memphis police to the adoptive father of a victim, John Mark Byers, who then gave it to Doug Cooper, a cameraman. HBO executives allegedly ordered the return of the knife. The knife was a Kershaw folding hunting knife. The author finds this scenario “ridiculous.”
Another film, The Devil’s Knot, is mentioned, featuring a knife belonging to victim Stevie Branch found in his stepfather’s toolbox, allegedly incriminating Terry Hobbs. Pam Hobbs, his wife, is mentioned as a witness. The book by Mara Leveritt is cited, comparing the case to the Salem Witch Trials. Mathis notes that Echols and his wife moved to Salem and became involved in “magick” after being found innocent by the press, which he sees as entanglement in lies.
Billie Wayne Stewart is mentioned as providing new evidence against Terry Hobbs, and the author notes the shared middle name “Wayne” with Damien Wayne Echols. Pam Echols is also known as Pam Stewart, linking to the Stewart name.
The legal proceedings involving Judge David Laser are discussed, including the appeal to the Arkansas Supreme Court and the subsequent plea deal. Stephen Braga, an attorney with Ropes & Gray, negotiated the plea agreement. The article questions the legality of Judge Laser vacating convictions and ordering a new trial without Supreme Court instruction.
Mathis speculates that “Echols” might be hiding the name Eccles, linking them to Stuarts, Boston, Simon Eccles (son of the Viscount Eccles), Zinovieffs, Huber-Percys, Princes Dolgoruky, Madame Blavatsky, Romanovs, Carnegies, Townsends, Hamiltons, Murrays, Elphinstones, Greys, and Petty-Fitzmaurices. He suggests Echols’s interest in the “Rasputin look” is part of his heritage.
The author links the “West Memphis Three fake” to the Theosophy Project and claims it leads back to the same families. Eccles are also related to the Balls, connecting to George Washington. A Michael Eccles of Memphis, TN and FPO AP is found, related to John Eccles of Louisville and Dallas.
Bruce Sinofsky, producer of Paradise Lost, is noted as being from the same Jewish lines as the Zinovieffs and resembling Echols. Peter Jackson, director of The Lord of the Rings, and Eddie Vedder are mentioned as having befriended the convicted individuals. Netflix is identified as a CIA front for promoting Echols’s magick in “The Midnight Gospel” and “Stranger Things.”
Atom Egoyan, director of The Devil’s Knot (a flop for Worldview studio, which was bailed out by Comerica via the CIA), is also criticized for producing CIA propaganda like “Captives” and “Chloe.” Colin Firth, the star of “The Devil’s Knot,” is also mentioned.
The documentary series Paradise Lost is discussed, commissioned by HBO (another alleged CIA front). The unprecedented access granted to the filmmakers by the judge is highlighted as confirmation of CIA involvement. Mathis dismisses the idea that local police were corrupt and pinning the crime on the accused, arguing that such access would not have been granted if it were a genuine prosecution. The author concludes that the case was manufactured to create fear.