This article critiques the current justice system, starting with a discussion of Alfred Hitchcock’s film, “The Wrong Man,” starring Henry Fonda. The author argues that the film, like much of 1950s “fear porn,” instills an irrational fear of jail and highlights the unreliability of eyewitness identification, particularly that of women. The author supports this by referencing Alice Sebold, celebrity confusions noted by Brad Pitt, Leo DiCaprio, and Margot Robbie (who is compared to Emma Mackey of Sex Education), and anecdotal evidence from law enforcement.
The author extends this critique to the entire criminal justice system, questioning how decisions can be made “beyond a reasonable doubt” when human judgment is inherently flawed. The process of jury selection is deemed a “farce,” designed to marginalize jurors and allow lawyers and judges to exert control. The author proposes a revolution to overhaul the system, advocating for a national body of professional jurors chosen based on merit and honesty, with strict monitoring for corruption.
The article also criticizes the appointment of judges, suggesting they, like jurors, should be selected based on merit rather than cronyism or political affiliation, citing Biden’s Supreme Court appointments as an example. The author believes both major political parties are corrupt and should be discarded.
A new method for selecting leaders and jurors is proposed, starting with the top 1% based on intelligence and honesty tests, and excluding anyone connected to “prior power structures” or Phoenician families. The selection process involves multiple stages of vetting and eliminating ambitious individuals, creating “buffers” to ensure honest leadership. The author contrasts his proposed system with socialism and Karl Marx’s ideas, describing it as meritocratic and hierarchical with a “minimal government.”
Finally, the article briefly touches on Lia Thomas, a transgender swimmer, questioning the narrative of dominance and highlighting the disparity in performance compared to existing records. The author attributes this situation to a culture lacking personal responsibility and integrity. The article concludes with an extended footnote about Margot Robbie and Emma Mackey, suggesting a possible close genetic relationship, possibly through cloning or a shared family lineage involving Kessler, Kowald, Bange, Paech, Mibus, Mirtschin, Israel, and Hempel families, and potentially linking to Stuarts and Maces of Australia.