Economics

USAID And The Architecture Of Perception

Authored by Josh Stylman via The Brownstone Institute,

The United States Agency for International Development (USAID) has long portrayed itself as America’s humanitarian aid organization, delivering assistance to developing nations. With an annual budget of nearly $40 billion and operations in over 100 countries, it represents one of the largest foreign aid institutions in the world. But recent disclosures reveal its true nature as something far more systematic: an architect of global consciousness.

Consider: Reuters, one of the world’s most trusted news sources, received USAID funding for ‘Large Scale Social Deception’ and ‘Social Engineering Defence.’ While there’s debate about the exact scope of these programs, the implications are staggering: a division of one of the world’s most relied-upon sources for objective reporting was paid by a US government agency for systemic reality construction. This funding goes beyond traditional media support, representing a deliberate infrastructure for discourse framing that fundamentally challenges the concept of ‘objective’ reporting.

Source: USASpending.gov database

But it goes deeper. In what reads like a Michael Crichton plot come to life, the recent USAID revelations show a staggering reach of narrative control. Take Internews Network, a USAID-financed NGO that has pushed nearly half a billion dollars ($472.6m) through a secretive network, ‘working with’ 4,291 media outlets. In just one year, they produced 4,799 hours of broadcasts reaching up to 778 million people and ‘trained’ over 9,000 journalists. This isn’t just funding – it’s a systematic infrastructure of consciousness manipulation.

The revelations show USAID funding both the Wuhan Lab’s gain-of-function research and the media outlets that would shape the story around what emerged from it. Backing organizations that would fabricate impeachment evidence. Funding both the election systems that facilitate outcomes and the fact-checkers that determine which discussions about those outcomes are permitted. But these disclosures point to something far more significant than mere corruption.

These revelations didn’t emerge from nowhere – they come from government grant disclosures, FOIA requests, and official records that aren’t even hidden, just ignored. As my old friend Mark Schiffer noted the other day, ‘The most important truths today cannot be debated – they must be felt as totalities.’ The pattern, once seen, cannot be unseen. Some may question DOGE’s methods or the rapid pace of these disclosures, and those constitutional concerns deserve serious discussion. But that’s a separate conversation from what these documents reveal. The revelations themselves – documented in official records and grant disclosures – are undeniable and should shock anyone who values truth. The means of exposure matter far less than what’s being exposed: one of the largest narrative control operations in history.

No domain is untouched – markets, tech, culture, health, and obviously, media – and you’ll find the same design. Intelligence agencies are deeply embedded in each domain because shaping how we perceive reality is more powerful than controlling reality itself

Just as fiat currency replaced real value with declared value, we now see the same pattern everywhere: fiat science replaces inquiry with predetermined conclusions, fiat culture replaces organic development with curated influence, fiat history replaces lived experience with manufactured narratives. We live in an era of fiat…

Hollywood Claims Rachel Zegler Is “An Icon” Despite Epic Snow White Bomb

Unless you’ve been living under a rock for the past few years you’re probably familiar with the controversy surrounding the “wokification” of Disney and their constant attempts to inject leftist activism into their media products.  Disney’s cult-like dogma played a considerable role in the rise of the anti-woke movement and ultimately the fall of Hollywood, which is now reeling from an avalanche of box office failures.

One such predictable failure (perhaps the ultimate predictable failure) is the woke Snow White live action remake starring a veritable unknown actress by the name of Rachel Zegler.  To summarize why the public despises Zegler and this film so much, let’s backtrack to 2021 when Zegler was announced for the beloved role.

First, the movie is called Snow White.  It’s based on a centuries old German fairy tale which was eventually written down and published by the Brothers Grim in 1812.  These tales are an integral part of Medieval European heritage.  Though she is part Polish, Zegler is certainly not “snow white”.  The casting choice was viewed by many fans of the original animation as a deliberate attempt to race swap yet another classic European character and troll western audiences with DEI.

If it was minority folk figure being replaced, the response from leftists would be rabid.  But, it’s okay as long as the characters are white.

Then there was the public complaints of an angry little actor by the name of Peter Dinklage, who praised Disney for hiring a Latina to play Snow White but argued that hiring real life dwarfs to play the Seven Dwarfs would be “backwards” and demeaning.  Thus, in his burst of pint-sized outrage, Dinklage destroyed any chance for seven actors with dwarfism to make a name for themselves on the big screen. 

Then there was the leaked production photos of the “Seven Dwarfs”, who were played by a laughably diverse cast of normal sized people.  Disney initially lied about the images and claimed they were “Fake and not from our production…”  As it turned out, the images were real.  The internet collectively laughed and gasped simultaneously at how bad and woke the movie was clearly going to be.

This is the sort of blunder that occurs when you try to make every “marginalized” activist group happy. 

The biggest handicap for the film, however, was Rachel Zegler’s big mouth.  The actress hammed it up in interviews, disparaging the original Snow White as a “weird” relic of the patriarchal past and asserted that the remake would be a representation of empowerment for women who “don’t need no man”. 

Then there was Zegler’s steady stream of anti-Trump and anti-conservative rants on social media.  A classic mistake of modern Hollywood actors; thinking that the public has any interest in their political insights.  Her comments hurt the film’s chances even more.  Disney was eventually forced to delay the release for a year, claiming that it was “because of the 2023 SAG-AFTRA strike”.  

The final product turned out to be…