The directors and producer behind Died Suddenly, the viral “documentary” that tried to convince us that the COVID-19 vaccines were felling people by creating fibrous clots, are at it again. Their latest movie is called Final Days and it leans heavily into the God-versus-Satan end-times narrative Died Suddenly only hinted at.
The COVID-19 pandemic and the release of mRNA vaccines have proven to be fertile ground for conspiracy theorists who have always feared authoritarianism, forced medical procedures, scientists playing God, and what they glimpse on the technological horizon, including artificial intelligence and transhumanism. Their grand conspiracies are no longer about what the powers that be are planning on doing to us one of these days; the pandemic and the vaccine roll-out are the conspiracy put into motion. It has finally happened.
The theorists now have a foothold to explore precisely how our so-called puppet masters are enacting their sinister plan. These wild conjectures can’t all be true, but as with all grand conspiracy theories, the important thing is to reject the official narrative. In Died Suddenly, the vaccine was the bioweapon. Here, it’s the virus itself, which a whistleblower claims was engineered as a destructive lipid nanoparticle. And it’s all revealed, black on white, in publicly available patents, apparently.
The key anxiety at the centre of Final Days is that ordinary people have become captives of a scientific and technological elite. Anthony Fauci, Bill Gates, even Neil deGrasse Tyson are presented as a disquieting aristocracy that has fabricated the pandemic to bring about the end of the human species and the birth of a new life form. It’s about the bad consequences, intended or not, that come from scientists’ hubris. Dr. Paul Offit, a vaccine developer, paediatrician, and science educator, wrote a whole book about what happens when science goes wrong without ever falling into promoting anti-science. But Final Days is firmly opposed to science. In its place, it elevates Christian theology.
“Pleased to meet you / Hope you guess my name”
Final Days does not beat around the burning bush. It opens with a Bible quote (“I will praise thee, for I am fearfully and wonderfully made”) and, after a montage of scientific progress and regrets set to pulsating synthwave music, the ominous narrator begins in earnest by quoting Twitter user @holowsun. Not a particularly magisterial way of convincing your viewers you’re onto something meaningful, but this random Twitter user claimed in December 2022 that “all technology comes from demonic super-intelligences.” I’m sure someone on Twitter believes that the moon is made of cheese. I wouldn’t quote them in the opening to my movie about the apocalypse.
The makers of Final Days want us to believe that scientists and people in positions of authority have made a damning deal with the Devil. We are shown the Macintosh computer’s bitten apple logo, which harks back to the forbidden fruit Eve was tempted to eat in the Book of Genesis, and that computer’s original price tag of $666.66, the Devil’s number. (It actually had more to do with Steve Wozniak’s love of repeating digits and the computer’s first wholesale price.) The movie shows us both a drawing of the temptation of Faust (the German character who surrendered his soul to an evil spirit) and video of Sam Smith and Kim Petras’ performance of the song “Unholy,” bathed in red and oozing with Satanic symbols. In the eyes of the filmmakers, the Devil is real and he has been busy seducing a lot of people.
The movie portrays technological advancement as a Satanic plot to uncouple humanity from God’s love. We are told that machines whittle away at our divinity and that artificial intelligence is a vehicle for demons to enter our world. While ChatGPT is surprisingly good at understanding language and sounding cogent (though not so good at getting its facts right), I must admit I don’t see evidence of fallen angels when I interact with it.
Stripping away the technophobic eschatology from the movie, however, we are left with a stunt inspired by the first Plandemic video and its embrace of Judy Mikovits: there’s a whistleblower and she’s here to reveal the sordid agenda of the scientific elite. This time, the claim is that the coronavirus is not a biological virus. It’s a nanoparticle meant to reprogram our humanity.
“Robots in disguise”
The lone interviewee in Final Days is Karen Kingston, who has a Bachelor’s degree of Business Administration with a specialty in Marketing and who began her career as a Pfizer sales representative before becoming a “pharmaceutical and medical device business analyst,” according to her LinkedIn profile. Given the preposterous accusations she makes in the movie, it will not surprise anyone that she has a blog on Substack called “The Kingston Report,” which boasts over 44,000 subscribers. Her outspoken religious beliefs and anti-vaccine activism are the perfect combination for Final Days.
Her main claim is that the coronavirus is actually a tiny fat particle engineered by the military-industrial complex and aerosolized so as to infect us. It contains graphene, which acts like an antenna, and it’s making us magnetic, and those clots from Died Suddenly were from the hydrogels used in the fake virus, and these nanoparticles can build entire anatomical structures inside of us, and they are changing our nature to turn us into posthumans against our will. “We are in the middle of World War III,” she concludes.
The evidence she presents comes in the form of patents, which have apparently deceived all levels of government and militaries around the globe, but not Karen Kingston, who is used to reading pharmaceutical patents.
One patent for lipid nanoparticles, which Moderna applied for, reveals the presence of “cationic lipids,” which are fat molecules that have an overall positive electrical charge. Kingston says there are no cationic lipids in nature, ergo “this is nanotechnology.” This isn’t the gotcha moment she thinks it is. No one is claiming the mRNA vaccines are 100% natural. Obviously, they are a technology and they contain molecules that have been carefully manipulated by human beings. That does not make them dangerous, nor is this a revelation.
Kingston’s true smoking gun, however, is a different patent which apparently reveals vaccine nanotechnology to be a carrier for chemical weapons and agents of biowarfare. This line is actually buried in an exhaustive list that runs over multiple pages and which describes sound predictions for all of the possible applications of this technology, a technique which is common in patents. The applicant wants to cover every possible use of their new technology. In this patent, the nanocarrier is listed as being antigens from white blood cells; immunostimulatory agents; immunosuppressants; targeting agents; poorly immunogenic antigens; cancer antigens; autoimmune disease antigens; and the list goes on and on and, yes, does include small molecules that are toxins, agents of biowarfare, or a hazardous environmental agent. I don’t like these hypothetical applications myself, but just because a patent applicant dreamt up a hundred potential applications to their new technology does not mean that any commercial product derived from it must be a bioweapon.
Finally, there’s the assertion that the SARS-CoV-2 coronavirus itself contains graphene, and that graphene inside the human body has electromagnetic properties, which is apparently bad. The coronavirus does not contain graphene. Viruses do not contain graphene, which is a single layer of carbon atoms laid out in interlinked hexagons. The COVID-19 vaccines also do not contain graphene, although the material was used to study their structure initially using cryogenic electron microscopy.
Of course, Kingston does not believe the coronavirus is actually a virus, so the point is moot to her, and the movie shows us footage allegedly of the COVID-19 vaccine under a microscope, revealing metal self-assembling, presumably because of graphene’s magnetic properties. (This section of the movie casually shifts back and forth between the virus and the vaccine being the bioweapon, and it’s unclear to me why the vaccine would be necessary if the virus were the bioweapon.)
The shocking footage comes from work often presented by Ana Maria Mihalcea, MD, Ph.D., who apparently believes that “how we think manifests a state of health or disease” and who follows the teachings of Ramtha the Enlightened One, a fictional, 35,000-year-old being claimed to be channelled by spiritual teacher J.Z. Knight. She also has a Substack blog, with 30,000 subscribers. The video essentially showing Transformers inside the blood of patients is unbelievable, and were that the case that the 767 million people who have had a confirmed case of COVID-19 had actually inhaled a bioweapon that assembles metal inside the body, or that the 70% of the world population who received the COVID-19 vaccine were victims of the same nefarious scheme, we would know. Laboratories everywhere would be looking at the blood of their patients and wondering why it contained microscopic semi-trucks transforming into Optimus Prime.
Nevertheless, all of this patent miscomprehension and metal fearmongering leads us to the terror that the military-industrial complex is forcing all of us to become transhuman.
No adult thought in sight
Given that the trailer for Final Days leaned into the fear of transhumanism, I was hoping to hear actual arguments for and against it. Transhumanism is the idea of transcending our mortal, vulnerable flesh, of using science and technology to improve our condition, eliminate aging, enhance our faculties, and perhaps, one day, transfer our mind into a computer. There are captivating arguments on both sides of this ideology. Would such a radical use of technology exacerbate our social inequalities, especially since these modifications are likely to be limited to the rich initially? Are designer babies ethical? Would posthumans regard the merely human the same way we perceive chimps? And by trying to eliminate disease and disability and deciding which of our traits should be enhanced, would we commit the sin of resurrecting eugenics.
Likewise, we are currently engaged in an important debate over the role of artificial intelligence in our society. Some of these think pieces are unfairly dismissive while others may be overhyping the technology, but the discussions we are having are crucial at the dawn of such a potentially disruptive advancement.
None of these cogent thoughts are expressed in Final Days. Instead, we get the usual Gish gallop from one bit of pop culture to the next, like a teenager trying recreational drugs for the first time and seeing all sorts of patterns about how the world works. There’s the atomic bomb and Oppenheimer’s confession of “Now I am become Death.” There are glimpses of The Terminator, Jurassic Park, and The Matrix. There’s DNA as the twisted staircase leading Jacob to Heaven. There’s a bit with Bob Dylan in which he says he made a bargain with “the Chief Commander.” We are essentially taken on a trip through someone’s brain boiling over with references to The Lesser Key of Solomon, Eisenhower’s words about the military-industrial complex, Elon Musk’s Neuralink and, of course, Klaus Schwab and the World Economic Forum. It’s all a superficial exercise in connecting everything with red yarn and yelling, “See? SEE?” The movie is devoid of adult thoughts.
The end credits roll, punctuated by typos, and the sponsors are revealed as a website presumably selling gold (although the URL does not work and the main domain says “Launching Soon, Stay Tuned”) and Dr. Peter McCullough’s line of dietary supplements (about which I wrote previously). The address of that website has a fatal typo in the credits. I wonder if McCullough will be happy about that.
I usually resist the use of the phrase “anti-science,” as it implies to my mind a complete rejection of science. But in the case of Final Days, which attributes scientific progress to dealings with Satan, the phrase is fitting. If its directors had been alive when the printing press was launched, they would have denounced it as a tool from Hell. It’s ironic to see these people use modern technologies like computers, editing software and the Internet to disseminate their regressive message. I guess you have to reach your audience where it is and screaming in the town square isn’t as effective as it used to be.
Final Days is an anti-science movie that aims to bring the fear of the Devil to the front stage of discussions about AI and transhumanism. It will seem outlandish to many, but it will unfortunately resonate with many people’s societal anxieties and religious beliefs. While the number of people who believe in grand conspiracy theories may not have gone up in recent years (more research needed), it was already disturbingly high. Many who watch Final Days will say, “I don’t agree with all of it, but there’s something there.” The end result? More hate directed at scientists.
Heaven help us.
Take-home message:
- The movie Final Days claims that the SARS-CoV-2 coronavirus is actually an artificial bioweapon that is meant to transform humanity into a different species, and that scientists have made a deal with Satan
- A whistleblower claims that patents offer proof of this conspiracy, but she shows a complete misunderstanding of what these patents actually demonstrate
