Cult Member
Jake Fern
In recent weeks, UK column presenter Jake Fern has called into question my mental health solely on the basis of me questioning the nature of Bob Moran’s relationship with X user, Ed the Techie. Disparaging remarks Fern made on UK column broadcasts (of 15th and 16th July 2026) are but the latest in a sustained commentary of this nature from him. He echoes James Delingpole’s assistant Andrew Warwick (aka Darley) who described me as mental, sad, lacking in wisdom, envious, and autistic, for posing the same questions. Fern is keen for his audience to associate paranoia and mental illness with inquiries about Bob Moran.
Before we consider the extensive examples of Jake Fern’s efforts to discredit valid questions, we might first look at that from which he seeks to distract. When considering Bob Moran’s eulogy and cartoon for someone he had never met, I drew attention to the fact that Moran’s cartoons had been selling for prices considerably higher than the going rate. Bob Moran received a salary from the Daily Telegraph until his sacking in October 2021. He then received a salary from the Canadian Democracy Fund for the whole of 2022. According to his website he took £1,128,000 from the sales of 108 paintings made between 2021 and 2024. This is an average price per cartoon of £10,444. Moran received additional income from sales of prints, books, and tickets to his events.
In an essay of 9th June, 2026, entitled patronisingly, Joining Dots for Dummies, Jake Fern wrote, “Then we get a whole load of bitter musings on how much money Bob’s artistic talent has brought him. Sour grapes? O’Neill himself paints and has failed to make an income from his art, whereas Bob is someone who has made outstanding and hugely respected work that has articulated the shared outrage and sadness of millions of people. His unique output has made him very collectible. No great mystery there.”
Yet on 7th Jan 2025, on Fern’s, ‘A Thousand Words,’ podcast, Bob Moran had informed Fern that,
“Sometimes I would sell an original painting at the paper, maybe like, you know, two or three times a year, so a politician or politician’s sibling or whatever, someone who worked for them, would buy an original for 3 or £400 ...And then in the last few years there have been people trying to collect my originals who are quite wealthy and that, you just have like a couple of them competing at one time and the price is -I mean art is crazy isn’t it? It’s really stupid how this money works with art, but I started selling the originals for quite a lot of money and that’s, you know, that’s been my only income really.”
Here Moran confirmed my observation that he has been selling his paintings for inflated prices and sought to provide an explanation. He failed. Even at the higher price he mentions of £400, a buyer concerned about competition could have bought in advance all 108 paintings Bob Moran produced between 2021 and 2024, for £43,200. The two allegedly competing buyers could have shared half of Moran’s output each for £21,600. These figures would have been less than what Moran charged for single cartoons.
Instead we are to believe two buyers entered into a bidding war to their own cost.
How would this bidding war have been conducted? The usual procedure for an artist selling his work is for a buyer to approach and request to purchase a work. If the sale price is met the artist sells. There is usually no third party present to make a counter bid.
Moran’s conversation with Fern took place in Brighton, the home of Ed the Techie. Moran never mentioned him. Later Fern would tell Jeremy Nell that:“I’d not met Ed...and knew of him only after he died.”
To date, the only posts Jake Fern has made on substack for purposes other than self-promotion have been about me and my questions pertaining to Bob Moran. Fern has presented three essays on the subject, two of which were mostly written by AI. He has only written one other essay and that was apparently to defend himself from accusations of lack of payment and that he was, “causing problems for (young journalist) Emma Dunwell.” Fern says that in recent years he has become less interested, “in current affairs or even alternative current affairs,” saying, “I’m just not that interested in a way,” (see 4.40). He told Robin Monotti,
“When I was younger and feeling like I had to change the world you know I had to change someone’s mind and…that kind of Evangelical almost sense of, ‘I have to convince this person that 9/11 was an inside job,’…and then of course you realise, as you said, I think you can’t change anyone’s mind and it’s not your place to.”
The notion that we are not to change minds is a recurring theme in Fern’s discourse but he seems to make an exception with the topic of Bob Moran. Fern is also concerned to convey that, “it’s probably not that many who are consciously controlled,” and to dismiss suspicions about controlled opposition.
When Jake Fern recently raised the topic of Bob Moran with Jeremy Nell on UK Column, Nell responded, “Ed the Techie or something,” followed by,“Francis O’Neill or something,” suggesting that Nell did not know anything of either me or Ed. Later in the conversation he confirmed, “I know nothing about Ed the Techie. I don’t even know who that is.” Despite knowing nothing about it, in the second part of their conversation when Fern again raised the topic, Nell said, “It’s so stupid. I’m sorry. Every time this conversation comes up, I cringe.” When Fern concluded that my writing is suggestive of an, “objectively paranoid mindset,” and, “mental illness,” Nell laughed and said, “I think I might agree.”
Nell’s conclusions are based on his confessed ignorance and as such can be dismissed. Fern’s amateur and remotely conducted psychiatric diagnosis can also be disregarded. In contrast to Fern’s outrage, James Delingpole had previously stated of my questions, “Bob will be amused by this. He admires Francis - isn’t at all offended - and praised him for his bravery in attacking such a popular figure (ie Bob). This was not meant sarcastically,”
Why is Jake Fern so exercised on behalf of Bob Moran when Moran himself is silent? Delingpole is closer to Moran than Fern but Fern contradicts Delingpole by saying that questions about Bob and Ed are, “causing a family unwarranted stress.” Elsewhere Fern acknowledged that Moran has not spoken of the situation so it is not clear how he knows that the family is suffering stress or how he is in a position to arbitrate over whether questions (and potential related stress) are warranted.
Responding to comments on his article, Fern likens asking Bob about his relationship with Ed the Techie to writing, “an article accusing you of being a kiddie fiddler but if I had no evidence to back it up then I’d just be being a dick wouldn’t I?”
Speaking to Jacqui Deevoy on 24th June 2026, Fern again defended Bob Moran saying, “I can’t just come on to you, Jackie, and say, you know, I hear you’re a paedophile. Would you like to defend yourself? You know, it’s like, that isn’t just asking a question.”
From this we are to understand that asking Bob Moran why he made a cartoon for someone he never met can be equated with accusing him of paedophilia. Yet contradictorily, another of Fern’s criticisms of 15th July 2026 is that “what wasn’t in that article was a single accusation of anything that Bob’s done wrong.” So Fern is equating not accusing Bob of doing anything wrong with accusing him of paedophilia.
He had previously asked Deevoy, “Like, can you point to something that Bob has done and say, “Ah, yes, that explains why he’s pushing, you know, Zionism or something like that.” You know, at least have a kind of reason. But if you can’t, if you can’t even point to anything, then you, just what’s the, I don’t get it?
Fern seems to have overlooked the suggestions I made about Moran on July 4th that his Kosher cartoon, "inflamed tensions rather than… asking how much of what we have been told about the events of October 7th, and what has followed, is actually true…(It) encouraged the portrayal of critics of the Israeli government as ‘anti-Semitic, anti vaxxers,’ engaged in an age old ‘blood libel.’
I also noted that Moran’s public spat that led to his sacking from the Telegraph had been used to discredit opposition to the injections as extremist. We can add that if we set aside partisan considerations his cartoons are often puerile and repulsive and unlikely to win friends.
On 18th June 2026, Fern suggested that when listening to Bob Moran, “We use our discernment. We take each claim on its own merits and evaluate it accordingly. If Adolf Hitler gave me good advice on how to paint a watercolour, I wouldn’t dismiss it because of his politics.”
Here he appears to be comparing Bob Moran to Hitler. An unfortunate but perhaps helpful comparison in the light of unorthodox history.
Jake Fern states, “My position has of late been that I’m kind of not even bothered if someone is an agent.”
Apparently it makes no difference to Fern if someone’s purpose is to mislead. He continues,
“If people are not acting from a position of sovereignty they will make bad decisions and will fail to be discerning. They will be led by ego, the need to be accepted, habit etc etc. This will happen whether or not they are being ‘guided’ by agents.”
Would knowing the truth have made no difference to the animal rights activist women with whom police infiltrators entered into relationships and fathered children before abandoning them? Like those police infiltrators Ed the Techie has been accused of being an agent provocateur who encouraged actions that led to arrests. Surely knowing someone is a liar is helpful in evaluating their motives and words?
Apparently not, according to Fern. He says, “I’m not a raging Zionist just cos I listen to Alex Jones or whatever.”
Of those who, “look at Klaus Schwab and they’ll feel... like I can’t listen to him. I’m going to be conditioned or I’m going to be brainwashed,” Fern remarks, “you know that’s not a sovereign state of mind.”
He adds that, “The classic example is David Icke. Yeah. He’s 90% truth and then he throws in the lizard shit, you know? It’s like, I don’t care.”
So, according to Fern’s paternalistic approach it is possible for ‘sovereign’ people like himself to listen to Alex Jones and Klaus Schwab and David Icke but my output requires Fern to stage repeated interventions to protect lesser mortals than himself. Fern and Nell make it clear that they can entertain that the world could be run by lizard people with Fern saying, “I can put the lizard shit on the ‘maybe’ pile,” but the idea that Bob Moran might not be what he seems is, “stupid,” makes Nell, “cringe,” and suggests, to Fern and Nell, “mental illness.” In contrast the pair make allowances for Bill Gates.
Even before the controversy over Moran, Fern has had to address suspicions of him voiced by his audience. Speaking to Abi Roberts in January 2026, he acknowledged, “People sort of accuse me of, in the comments people say, ‘Oh, he’s he’s always subtly putting down the truth.’ (He laughs) So like, so like, I’m not at all. I’m just trying to be -”
“Not even subtle.” quips Roberts.
“I’m not subtle about it,” he repeats.
“Not subtle at all,” Roberts affirms.
“I’m not subtle about it.”
“No.”
In terms of evidence that a funeral for Ed Chanter took place, this is the best that Fern (or anyone else) has been able to provide.
Who is Jake Fern?
Jake Fern first came to media attention as a dissident when he was arrested for holding a gathering of 50 people at a community centre in Providence Place, Brighton during lockdown on 13th November 2020. In August 2021 he was fined £220 but the fine was eventually dropped.
Before this time Fern informs us that he grew up in Birmingham where as a student he spent a year on an art Foundation course in Bourneville, before going on to Brighton where his aunt lives to do a conceptual art degree which he describes as ‘a Marxist cult.’
“I didn’t realise that I wouldn’t pick up a paintbrush for the next three years at the time, and I didn’t realise I was going to be indoctrinated into a Marxist cult either.”
As he completed his course in 1997, he read David Icke’s book The Truth will set you free and after the paradigm change effected by the book, he says, “I had a massive nervous breakdown and my world sort of collapsed.”
Fern told Ahmad Malik that his breakdown was further catalysed by being cursed.
“And then I graduated and then there was just a point where I was actually in Birmingham on a bus and some woman put a curse on me and at the time it felt like the worst thing...she showed me a Tarot card and mumbled something on the bus...I felt slightly aggrieved because there were some kids at the back of the bus who were taking the piss out of her. And she sort of turned around and thought it was me....she sort of did this, she did nothing. It had no power what she did. But it it was a mirror to my rudderlessness, my, my not knowing. It was like, you know fuck all, there. And it was bang and I was like, shit! And I was panicked. So I had a panic attack and I had to get off the bus to go and find her so that I could... of course I was completely confused. I thought it was an external thing. It wasn’t an external thing. So that whole process, yeah, I was very intense for about a year.”
(As an aside we might consider this suggestion of the occult. We have seen that Tania Edwards recently wrote of owning a, “West African magic book written in blood, bound in human skin, with death pockets front and back,” that her godfather gifted to her when she was a child. Fern lives in Brighton which happens to be the home of the architect of modern witchcraft, Doreen Valiente. The first blue tourist plaque honouring a witch was unveiled at her former home on the summer solstice in 2013. Ed the Techie also lived in the the Brighton area, as does Matt Campbell, the man with his hair styled as devil horns who was pictured with Bob Moran, supposedly at Ed’s wake. Fern’s podcast guest Richard Vobes is also from the area. When speaking with Bob Moran, James Delingpole is another man who, rather unusually, claimed to have been cursed).
Following his breakdown Fern found solace in a ‘cult.’
“After the collapse ...I found myself in what some people called a cult in the end And I was in it for 10 years and I have no regrets about getting involved. And it seems I would almost agree it was quite good. I mean, it was hardcore, like hard physical work, you know, punishment and all this kind of stuff.”
“ I got involved in a sort of what some people have called a cult. It was a, I don’t know what it was to be honest now, but it was a strange setup...And part of it was being sent off to Africa. I did three trips. The longest was two and a half years. I ended up five years in total.”
Fern lived and worked unpaid in Nepal for six months, South Africa for a year and then lived “5 hours south of Khartoum,” in Sudan for five years, staying for a year, a year and half, and then two and a half years with a combined total of six months off in between (see 24.25). He lived in a mud hut alongside Ethiopian and Eritrean refugees and Sudanese villagers in a place where there were no other westerners, necessitating that he learned Arabic.
The details of Fern’s life following his return to England and his exit from the cult are sketchy. If he graduated in 1997 and spent a year recovering from a breakdown followed by ten years in a cult, that would bring us to 2008 when Fern is recorded as playing in a band in Brighton. He also performed in bands when at college. In 2012 his band HollowMoon recorded an album called Closer than the Blood, which included a track called 33rd Floor, 33 being a freemasonic number in which Bob and Tom Moran seem to be unusually interested.
When lockdown started, Fern tells us,
Why wouldn’t it be the right word? Also if turning professional was that easy, why had he not done so before?
“I’d had a studio. I’d sold some paintings for um a greetings card company. So, I was doing still lives and I’d done some portraits. Uh, one which I was really pleased with and then I couldn’t afford to keep the studio. So, I lost the studio and then I had a child and then we had a house and then I had nowhere to paint.”
He had not made a living from painting earlier because before lockdown he had encountered the usual financial difficulties of supporting a family. From lockdown onwards these difficulties seemed to evaporate.
“I left uni and didn’t didn’t paint for a long time. Um and then yeah, as I say, it was covid that really got me back on track.”
He told Charles Malet that, “I’d painted all my life” but elsewhere he joked with Trevor John, “I went to Brighton and did a conceptual course and that was it. I never painted again.”
He described losing a studio before having a child, a son who is described as being aged seven during lockdown, and, “seven and then covid hit.” When lockdown began he says his paints were, “in the loft” (presumably at home), and he began painting with watercolours at home because “oil paints are very smelly.”
We can surmise from this that Fern graduated in 1997, had a breakdown for a year, joined a cult like organisation for ten years during which time he lived in Africa and did unpaid hard labour. He returned in 2008, and at some point rented a studio which he surrendered because he, ‘couldn’t afford,’ it when his son was born in 2013, after which he had ‘nowhere to paint.’ At some point after 2013 and before 2020 he found employment doing photoshop retouching for a drinks company. So he could only have seriously applied himself to painting for the five years between 2008 and 2013.
Fern speaks openly about college, his breakdown and his experience with, ‘the cult,’ and about these topics he is exact with time, dates, names and locations but the years 2008 to 2020 are an indistinct gap in his story. His artwork first appears on social media in 2020.
When he was arrested during lockdown on Friday 13th November 2020, he says it was at ‘the studio.’ The media reports the arrest as being at a community centre so presumably he had already hired a workspace during the lockdown period -another expenditure for the unemployed artist supporting his family. Lockdown restrictions would have presented challenges to finding a workspace as would working in a community centre -even without inviting 50 people and sabotaging one’s precarious new livelihood.
Prior to lockdown Fern had been sending his son to a private Montessori school which usually cost, “about £1500 a term,” although Fern was, “getting a deal,” perhaps as a low income family? Or perhaps he is well connected?
Fern relates of his painting that initially,
“I was working for a forger, legally, legal forging mostly.” This appears to be a joke of some sort.
“I met a forger, a local forger who a lot of people might have heard of. His name is David Henty. And it turned out we had quite a lot in common about how we see the world. And we were doing some work together, all above board, all legal, but we were doing some copies, we call them master copies rather than forgeries... and that’s just when you, you know, you’re copying well-known works of art.”
David Henty is a forger convicted in the 1990s who in 2014, “was investigated by The Telegraph newspaper and admitted selling over one hundred forgeries on eBay.” It is not clear why this did not result in prosecution.
In 2023 Fern joined forces with Henty in a partnership called The Righteous Brothers. They combined graphic and painted art to make satirical topical paintings based on book covers, that were exhibited in 2025. Also in 2023, Fern achieved local press coverage for a provocative painting of prince Charles.
Fern’s focus became portraiture and in 2024 he began a podcast called A Thousand Words in which he interviews amplified dissident figures whilst painting their portraits. His show was immediately platformed by alternative media outlet ResistanceGB and received sponsorship from Knights Bullion, a company affiliated with the Royal Mint that also sponsors the Light Newspaper.
Fern’s second sitter was Jacqui Deevoy who, as the story goes, then provided Fern with her address book. Prominent dissident figures in the cross-promoting network such as David Icke, Bob Moran, Matt le Tissier, Richard Vobes, Robin Monotti, Kate Shemirani, Piers Corbyn, Tess Lawrie, Tania Edwards, all soon followed. Fern had previously met both Icke (circa 1998) and UK Column’s Brian Gerrish and Mike Robinson (circa 2010). A number of these people including Bob Moran and Tania Edwards turned out again for Fern at an exhibition at Hope Sussex where they were presented with their paintings.
That those with large followings gain little advantage from appearing on small podcasts is recognised by Fern when he says of my invitation to Bob Moran to speak with Leo Biddle and me,
“After being treated the way O’Neill treated Bob the only rational response in my opinion would be to tell him to go **** himself. Of course he wants Bob on his show.. Bob’s a relatively big name. O’Neill isn’t.”
Fern’s conversation with Jeremy Nell was entitled, “The Truth Movement is a Cult,” and the cover image showed him covering one eye. There certainly seems to have been a closing of ranks in response to questions about Bob Moran.
A rising star?
Fern’s star has clearly been in the ascendant. He was a finalist in Worthing Portrait Artist of the Year in both 2021 and 2022, and was selected for the Royal Institute of Painters in Water Colours and Royal Institute of Oil Painters exhibitions in 2022.
In 2024 Fern was selected to exhibit with the Royal Society of Portrait Painters. He showed a painting of Andrew James in His Studio, saying in the catalogue that Andrew James contacted him after hearing a podcast and that they, “quickly became friends,” because they lived near one another. Andrew James is an established member of the Royal Society of Portrait Painters and New English Art Club.
In 2025 Fern was again selected to exhibit with the Royal Society of Portrait Painters and won the Sussex Portrait Artist of the Year Award. He finished the year with an exhibition of his Thousand Words portraits at The Truman Brewery that was again attended by many of his prominent sitters including Tania Edwards, Abi Roberts and UK Column’s Charles Malet, Mike Robinson and Brian Gerrish.
By the time Fern interviewed Bob Moran in December 2024 he was telling his audience that the producer of the hugely competitive Sky Portrait Artist of the Year television show had called him asking him to participate.
“I’ve got friends who took part in the Sky Portrait Artist of the Year competition and the producer got in touch saying you know if you apply, you know, we’ll definitely look at your application and I was like ‘oh that’s quite nice that he’s actually, you know, messaged me personally.’”
When discussing this story Fern felt confident enough in his application that he went on to publicly criticise the TV show for its selection, saying the winning portrait had been won by an,
“early 20s good looking, queer, LGBQ thing, he looked great, you know, but the portrait was appallingly bad,” Fern added that, “I commented, if that had been a 60-year-old straight white male that had produced that painting he would have been laughed at. He wouldn’t even (have) got past the first round so it’s so prejudiced and yet the irony is that they think they’re, they probably don’t, but you know, they present themselves as being, you know, we’re with the prejudiced ones.”
Of his podcast portraits, Fern excused the quality of his work by acknowledging the obvious and inevitable difficulties inherent in attempting to paint a portrait whilst conducting an interview. He told former army officer and police detective Charles Malet on UK Column,
“When I had to start responding to, you know, and actually being an interviewer, I realised actually how difficult it was to concentrate. But what it sort of does is, I make the joke that the charm of the podcast, in a way, is the fact that I’m doing neither thing as well as I could do if I was only doing one of them. So I’m not interviewing as well as I could be. I’m sort of losing track and getting distracted slightly. And I’m also not doing the portrait as well because I’m kind of, so there’s a bit of drama and tension there and, you know, is he going to pull it back? Has he made that mistake or whatever?”
The purpose of the conversation was to promote Fern’s podcast as a welcome addition to the output of UK Column, so in case viewers were wondering why UK Column was adding admitted second rate interviews to their programming, Charles Malet immediately reassured viewers of the quality of both the paintings and the interviews.
It seems clear that no artist with a pride in his work would attempt to make portraits without being able to focus on the task. The podcast format has the appearance of an idea from someone who is not an artist. Fern attributes the concept to his wife Victoria Jayne Ball, but for some reason he has pursued it and now makes the case that simultaneously interviewing and painting more poorly than those tasks would be done independently is somehow more interesting.
He tells Emma Wall on It’s A Curious World (see 8.00)
“People say, ‘do one thing and do it really well.’ Well, the kind of nature of, ‘A Thousand Words,’ is that I do two things not as well as I could do and it’s kind of the beauty of it. So it’s quite odd really so I don’t paint as well as I could because they’re moving, I’m moving. I’m not concentrating, I’m getting distracted, and I can’t interview in the same way that I would if I was just sitting down with someone, but both of those things lend themselves to being almost more interesting…and then the painting is always a bit like, for people to watch is probably quite interesting because they can sort of be a bit dodgy looking, you know, because I’m getting distracted, you know, they don’t always look that good, you know, and people probably thinking how’re you gonna make anything of that, you know?”
It is difficult to understand how making sub-par paintings can be satisfactory to the artist unless of course the art is not the objective.
Since Fern started painting during lockdown his trajectory has been upward and uninterrupted. When he had an idea for a podcast, GB Resistance platformed it and Jacqui Deevoy provided contacts. Amplified figureheads obligingly gave their time and the show received ready sponsorship. UK Column then took up the Thousand Words podcast. A testimonial given prominence on Fern’s website reads, “Jake is brilliant. Highly recommend.” Tania Edwards.
In case this progression looks a little too seamless, Fern is now circulating a story of division in which he is said to have fallen out with ResistanceGB figures and others such as Sandi Adams.
As an insight into the amount of money his podcast garners, Fern informs us that when he moved to UK Column he offered the ResistanceGB filming crew £660 per episode before agreeing £800. A Youtube commenter asking if Fern is now being paid £2,000 per episode has not been answered by UK Column. Fern’s wife responded to deny it but no further clarity was given as to the amount. Fern’s UK Column shows are also interspersed with advertisements for his paintings.
Fern is also lead singer in a band called Victorious which performs at dissident festivals and was for a time associated with the Defiance record label whose artists his podcast promoted on ResistanceGB. Also with Defiance are the Blockheads for whose single, ‘Liberty,’ Bob Moran made a cartoon of the same name.
Outside the dissident network, it seems that such is Fern’s rising celebrity that the producer of Sky Portrait Artist of the Year has invited him to participate in their flagship art programme and he has been befriended by a member of the Royal Society of Portrait Painters.
Fern’s recent success contrasts starkly with his artistic efforts before lockdown but is somehow not reflected on social media where Fern has 188 followers on Substack. 1307 on instagram, 1,400 on facebook, and 476 on X.
Fern’s ascendance in a highly competitive artistic field is similar to that of Bob and Tom Moran’s. Speaking of being a cartoonist for a major newspaper Moran recounted to Fern, “I understood how unlikely it was to actually get a job because… there aren’t that many jobs that exist…there’s probably 15 people in the country at any one time who do it regularly so, and also once people have a job like that they tend to stay until they’re in their mid 80s and either die at their desk or eventually get booted out.”
Moran told Mark Meets on GB News that, “I heard that there was an opening at the Telegraph, so I just sent an email on the off chance and I got to go in and do a sort of trial and that was that,” but his story to Jake Fern differs slightly when he says,
Mental Health
Speaking of his breakdown Fern becomes tearful at his remembrance of realising the fairly obvious insight that, “You can’t go to bed at night knowing that you’ve lived a lie, you know? It’s like you have to be authentic.”
He says of his breakdown that, “I went through such hell,” and that is was “really scary” and that “it went pretty crazy.”
So one might expect him to have some sympathy for someone else he suspects of having problems with mental illness.
He says of me that,
“I know people are concerned for his mental health and increasingly it seems to be warranted.”
Not only does he purport to think I am mentally ill but he seems to be determined to make sure as many other people as possible know of his amateur online diagnosis.
Since making the comments above, he has invited UK Column viewers to take part in the “fun experiment,” of asking AI whether it would diagnose me with paranoia. Fern is a man supposedly interested in liberty and truth who is asking a computer to diagnose whether another man should be condemned for insanity. Is that not insanity?
He says,
“There’s definitely delusions of grandeur. To think that there is a plot to discredit him as elaborate as he claims is totally loony toons. If anything, his chaos causing insanity would be seen as a bonus for the PTB.”
Whilst actively discrediting me he describes the idea of people plotting to discredit me as, ‘loony toons.’ Fern’s use of language is completely lacking in concern and sensitivity -especially for someone who claims to have gone through hell with a nervous breakdown.
“It all reeks of misplaced self importance and attention seeking to me,”
he sniffed, before going on to use the totalitarian tactic of dehumanisation.
“O’Neill’s piece is certainly more detached and void of emotion than mine. Almost inhuman in parts. I would seriously question your claim that he is just asking questions in a reasonable and respectful way. He isn’t. He’s throwing shit around like a child who isn’t getting enough attention and hoping that some of it sticks.”
“He seems so detached from humanity that he’s prepared to throw s**t at anything just to see if any sticks. It’s shameful.”
Conclusion
Jake Fern seems to be unusually exercised by my questioning the true nature of Bob Moran. He has engaged in a concerted effort to discredit my mental state and to convince others that my questions stem from paranoia. In making these emotive and unfounded claims he employs the tactics of which he accuses me and seeks to distract from both the evidence I present and the answers to the questions I pose.
It seems therefore that he has a personal interest in this matter. What could this be? When we examine the available biographical evidence on Fern we find that his artistic career has taken an unlikely and dramatic upward turn since lockdown. He has been supported by the cross-promoting network of appointed dissident figures who are given prominence in the British alternative media, and he has been platformed by those media outlets. These figures have included Bob Moran and his creative director, Tania Edwards. Opportunity, employment, awards and sponsorship have come to Fern in a short space of time in a highly competitive field, in much the same way Bob and Tom Moran found recognition in their sought after professions. The three men all seem to have a strange interest in the number 33.
Fern positions himself as an arbiter of truth and often exhibits a condescending and critical attitude to his audience and the wider Truth Movement. Prior to his recent emergence in that movement he had not attained the material success he is now being awarded. By his own admission Fern’s paintings and interviews are sub standard and yet both are celebrated and rewarded. Though he claims to have undergone a painful mental breakdown his descriptions of someone he regards as having mental health issues demonstrate an unusual lack of empathy. His criticism is often contradictory and illogical. As such his claims to be motivated by truth, compassion and humanity ring hollow and it is challenging to believe he is operating in good faith.
Again we might ask, ‘what is the nature of Bob Moran’s relationship with Ed the Techie?’
This essay follows on from this series of articles.
Part One: The Curious Case of Ed the Techie
Part Two: A Strange Response
Part Three: The Funeral of Ed the Techie
Part Four: The Devil’s Hour
Part Five: Court Jesters
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Well done, Francis. I am full of admiration for your ability to pull accurate research together and not stoop to ad hominem attacks even though you have been attacked like that.
Moran is not responding, Delingpole Overton-windowed you off his telegram group, and Jake accuses you of evading proper reasoning through insinuation and emotional framing. And then uses insinuation and emotional framing to protect Moran.
The depth and breadth of Jake Fern’s slandering of Francis is breathtaking.
What he has done in the process is reveal every dastardly thing he ever could about himself to everyone listening and watching. And to Francis of all people who as ever, patiently and forensically shines a brilliant light on this “exercise”.