The text is an essay by Miles Mathis arguing that the NXIVM organization and the HBO documentary “The Vow” are elaborate hoaxes orchestrated by powerful, wealthy individuals, primarily Jewish and aristocratic families, with the backing of intelligence agencies. Mathis claims that NXIVM was not a genuine cult but a staged event designed for various purposes, including money laundering, psychological warfare, and social manipulation. He meticulously deconstructs the narrative presented in “The Vow,” pointing to alleged inconsistencies in the legal proceedings, the fabricated nature of evidence, the casting of actors, and the hidden motives of the key figures. Mathis asserts that the “NXIVM” name itself is a clue, derived from “Nyx,” the Greek goddess of night, symbolizing chaos and darkness. He concludes that the true purpose of NXIVM and the media’s portrayal of it is to divide people, particularly women, foster fear and isolation, and maintain control for financial and political gain, likening it to other “hoaxes” he claims to have debunked.
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Miles Mathis argues in his essay that NXIVM and the HBO documentary The Vow are total frauds orchestrated by a cabal of wealthy Jewish and aristocratic families, with the alleged support of CIA operations like Operation Chaos. Mathis claims that the NXIVM story, mirroring aspects of the Manson hoax, Scientology, and other fabricated events, was designed to divide people, particularly women from each other, and to serve as psychological warfare. He points to the use of actors from shows like Smallville, Battlestar Galactica, Star Wars, Dynasty, and Stargate SG-1, and director Mark Vicente of $*! do we Know? as evidence of staged production.
Central to Mathis’s argument is the alleged deep-rooted connection of key figures to powerful families, including the Cafritz family (connected to Buffy Cafritz, Pam Cafritz, and Charlene Cafritz), the Bronfman family (associated with Seagrams, Edgar Bronfman, Clare Bronfman, Sara Bronfman, and Rita Webb), and the Royal Family through Catherine Oxenberg (daughter of Princess Elizabeth of Yugoslavia, and related to Alexander II Romanov, Christian IX, Edward VII, and Queen Elizabeth). He also links Allison Mack, Nicki Clyne, Sarah Edmondson, Nancy Salzman, and Keith Raniere to this alleged network.
Mathis scrutinizes the legal proceedings against Keith Raniere, questioning the length of his sentence and the validity of the charges, particularly sex trafficking and child pornography, suggesting they are fabricated. He also highlights alleged legal flaws, such as the use of fake names for accusers and the questionable handling of evidence. The author further criticizes the portrayal of Keith Raniere as a genius, citing his supposed lack of true intellect and artistic understanding, and links him to Lewis Ranieri, the “father of mortgage-backed securities,” and the Grimaldi family of Monaco.
The text also explores the supposed hidden meanings behind the name NXIVM (linking it to Nyx, the Greek goddess of night), the recurring imagery in “The Vow” (e.g., being underwater), and the use of specific phrases like “Dominus Obsequious Sororium.” Mathis suggests that the project’s goal shifted over time, from alleged money laundering for the Cafritzes and Bronfmans to psychological manipulation and social division, a tactic he claims is also employed by COVID-19 and modern media.
The essay concludes by reinforcing the idea that NXIVM and “The Vow” are part of a larger, ongoing operation designed to control and disempower the public, orchestrated by “Phoenicians” (a term Mathis uses to represent this perceived elite group) who engage in psychological warfare and manipulate art and culture, such as with the promotion of Modernism. He advises readers to be wary of these powerful families and their influence, urging them to recognize the media as a sophisticated brainwashing program. Mathis also calls out specific individuals like Frank Parlato, a former publicist for NXIVM, and Marc Agnifilo, Keith Raniere’s attorney, suggesting they are part of the alleged scheme. The essay critiques various media outlets, including Forbes and The New York Times, and individuals like Larry Nassar, Harvey Weinstein, and Bill Cosby as being part of these larger programs. Mathis also criticizes the concept of IQ tests and chess as measures of intelligence, believing they are flawed and designed to mislead. He further mentions Haverford College and Wuhan as potential locations or subjects of interest.