This article originally appeared on The Conversation. You can read it here.

The conspiracy theory video “Plandemic” recently went viral. Despite being taken down by YouTube and Facebook, it continues to get uploaded and viewed millions of times. The video is an interview with conspiracy theorist Judy Mikovits, a disgraced former virology researcher who believes the COVID-19 pandemic is based on vast deception, with the purpose of profiting from selling vaccinations.

The video is rife with misinformation and conspiracy theories. Many high-quality fact-checks and debunkings have been published by reputable outlets such as Science, Politifact and FactCheck.


As scholars who research how to counter science misinformation and conspiracy theories, we believe there is also value in exposing the rhetorical techniques used in “Plandemic.” As we outline in our Conspiracy Theory Handbook and How to Spot COVID-19 Conspiracy Theories, there are seven distinctive traits of conspiratorial thinking. “Plandemic” offers textbook examples of them all.

Learning these traits can help you spot the red flags of a baseless conspiracy theory and hopefully build up some resistance to being taken in by this kind of thinking. This is an important skill given the current surge of pandemic-fueled conspiracy theories.

1. Contradictory beliefs

Conspiracy theorists are so committed to disbelieving an official account, it doesn’t matter if their belief system is internally contradictory. The “Plandemic” video advances two false origin stories for the coronavirus. It argues that SARS-CoV-2 came from a lab in Wuhan – but also argues that everybody already has the coronavirus from previous vaccinations, and wearing masks activates it. Believing both causes is mutually inconsistent.

2. Overriding suspicion

Conspiracy theorists are overwhelmingly suspicious toward the official account. That means any scientific evidence that doesn’t fit into the conspiracy theory must be faked.

But if you think the scientific data is faked, that leads down the rabbit hole of believing that any scientific organization publishing or endorsing research consistent with the “official account” must be in on the conspiracy. For COVID-19, this includes the World Health Organization, the U.S. Centers for Disease Control and Prevention, the Food and Drug Administration, Anthony Fauci… basically, any group or person who actually knows anything about science must be part of the conspiracy.

3. Nefarious intent

In a conspiracy theory, the conspirators are assumed to have evil motives. In the case of “Plandemic,” there’s no limit to the nefarious intent. The video suggests scientists including Anthony Fauci engineered the COVID-19 pandemic, a plot which involves killing hundreds of thousands of people so far for potentially billions of dollars of profit.

4. Conviction something’s wrong

Conspiracy theorists may occasionally abandon specific ideas when they become untenable. But those revisions tend not to change their overall conclusion that “something must be wrong” and that the official account is based on deception.

When “Plandemic” filmmaker Mikki Willis was asked if he really believed COVID-19 was intentionally started for profit, his response was “I don’t know, to be clear, if it’s an intentional or naturally occurring situation. I have no idea.”

He has no idea. All he knows for sure is something must be wrong: “It’s too fishy.”

5. Persecuted victim

Conspiracy theorists think of themselves as the victims of organized persecution. “Plandemic” further ratchets up the persecuted victimhood by characterizing the entire world population as victims of a vast deception, which is disseminated by the media and even ourselves as unwitting accomplices.

At the same time, conspiracy theorists see themselves as brave heroes taking on the villainous conspirators.

6. Immunity to evidence

It’s so hard to change a conspiracy theorist’s mind because their theories are self-sealing. Even absence of evidence for a theory becomes evidence for the theory: The reason there’s no proof of the conspiracy is because the conspirators did such a good job covering it up.

7. Reinterpreting randomness

Conspiracy theorists see patterns everywhere – they’re all about connecting the dots. Random events are reinterpreted as being caused by the conspiracy and woven into a broader, interconnected pattern. Any connections are imbued with sinister meaning.

For example, the “Plandemic” video suggestively points to the U.S. National Institutes of Health funding that has gone to the Wuhan Institute of Virology in China. This is despite the fact that the lab is just one of many international collaborators on a project that sought to examine the risk of future viruses emerging from wildlife.

Critical thinking is the antidote

As we explore in our Conspiracy Theory Handbook, there are a variety of strategies you can use in response to conspiracy theories.

One approach is to inoculate yourself and your social networks by identifying and calling out the traits of conspiratorial thinking. Another approach is to “cognitively empower” people, by encouraging them to think analytically. The antidote to conspiratorial thinking is critical thinking, which involves healthy skepticism of official accounts while carefully considering available evidence.

Understanding and revealing the techniques of conspiracy theorists is key to inoculating yourself and others from being misled, especially when we are most vulnerable: in times of crises and uncertainty.

  • During one of Peter Gabriel’s final Genesis shows, a roadie got naked for one amazing prank
    A roadie got naked for a hilarious prank during one of Peter Gabriel's final shows with Genesis. Photo credit: Unknown photographer via Wikimedia Commons, Creative Commons Zero, Public Domain Dedication, cropped (left) / Canva (Africa images), cropped (right)

    The 1974 Genesis double-LP, The Lamb Lies Down on Broadway, is one of the most ambitious (and, to some, inscrutable) concept albums in rock history, following a character named Rael along a cosmic journey through the shadowy New York City streets, elaborate chambers of 32 doors, surreal cages filled with stalactites and stalagmites, underground rivers, and caves with spooky creatures. It was like a proggy Pilgrim’s Progress as envisioned by Alejandro Jodorowsky.

    When it came time to translate that vision to the concert stage, Genesis made a risky choice: debuting the entire 94-minute saga, front to back, with large chunks of the audience likely unfamiliar with the songs. (The first date of the tour, November 20, 1974 in Chicago, occurred two days before The Lamb hit stores.) The visual side of the project was as trippy as the lyrics, including scene-setting projections and a number of bizarre costumes for front man Peter Gabriel—like one particularly grotesque monstrosity, The Slipperman, that drummer Phil Collins later called an “inflatable dick.” (“It was all very Spinal Tap,” he said in an interview for the album’s 2007 reissue.) 

    If you ever wanted to appear naked onstage, this was probably the perfect time to do it—and one of the band’s roadies pulled off that hilarious prank as the tour neared its end. The silliness was especially notable, given the brooding atmosphere within Genesis—Gabriel, feeling constrained by the band’s schedule and eager to stretch his wings, had already informed his bandmates that he planned to leave following the Lamb tour. Perhaps the roadie, whom the band recalls being Geoff Banks, was attempting to add some levity. What we do know is that he made his nude cameo during one of the final shows, building on the suspense from a visual trick.

    “There was a point in The Lamb where Rael sort of splits, and we did that on stage,” Gabriel told filmmaker John Edginton in a full-band documentary interview. “I would be in the Rael outfit, and there was a dummy on the other side in exactly the same outfit. There wasn’t a lot of lighting, so it would explode, and you wouldn’t know [which was which]…Of course, for the crew, as we approached for the end of things—first of all, [Rael’s] jeans would have their flies undone with a banana hanging out. Gradually, they’d have more and more fun…”

    Keyboardist Tony Banks also talked about this infamous moment in a passage from the 2007 book Genesis: Chapter and Verse. “No one apart from the group, and the immediate circle of the group, knew that Pete was leaving and that this could well be our last tour ever,” he said. “And the roadies always had to have some fun. There was this moment in the show where Pete would be on one side of the stage with a dummy on the other side, and the strobe lights would flash on them so you couldn’t tell which was which. And, of course, for one of the last shows, one of the roadies got up there naked on the other side and took up the pose in place of the dummy…There were people watching this, my wife, for instance, practically in tears because they thought that it might be all over for Genesis, and we had a naked roadie on stage[—]was this how it was all going to end?”

    But all’s well that ends well, and Genesis managed to carry on after Gabriel’s departure by upgrading Collins to the dual role of drummer-singer. In a testament to their continued friendship, Genesis even reunited with their old singer in 1982 to help him escape mounting debts. 

    This article originally appeared last year. It has been updated.

  • 41 years ago Bono’s Live Aid stage antics ended up saving a female fan from being crushed
    U2 singer Bono embraces a fan pulled out of the crowd during the band's 1985 performance at Live Aid. Photo credit: Screenshot from YouTube / @LiveAid

    By July 13, 1985, U2 was a massively popular rock band: riding the wave of two successive chart-topping U.K. albums (War and The Unforgettable Fire), even being anointed the “Band of the ’80s” in a Rolling Stone cover story. But their definitive moment of that year was a performance at Live Aid, a benefit for Ethiopian famine relief staged before 72,000 at London’s Wembley Stadium and broadcast to well over 1 billion TV viewers. They were already larger than life, but now they had the perfect venue and grandiose crowd interaction to showcase it.

    Their short set featured a 12-minute version of their atmospheric 1984 song “Bad,” which they stretched out to include some quotes from The Rolling Stones’ “Ruby Tuesday” and, more famously, to accommodate the stage maneuvering of front man Bono. Halfway through the track, the singer gestured to the audience with a “come on”-type motion, eventually requesting a few female audience members be lifted out of the crowd by security.

    According to some accounts, including viral social media posts, this was some kind of “rescue” attempt, and while it’s unclear precisely why Bono took action, the story has become a staple of the U2 canon.

    In the above clip, you’ll see two fans guided to the apron area in front of the stage, where Bono briefly embraces them. But the most notable moment is when he jumps into the muddy area by the barricade, asking security to hoist over a teenager, with whom he slow-dances and offers a kiss on the cheek. Cameras, of course, caught the whole thing. Bono was a showman from day one, after all.

    Over the years, there’s been a lot of debate and discussion about this Bono-meets-fan moment. In a detailed breakdown of the performance, Rolling Stone reports that the third fan was 15-year-old Kal Khalique. Someone by that name shared their Live Aid memories with the BBC, writing that they weren’t even at the show to see U2: “My sister and I were desperate to see Wham!, so we had made it down to the front of the stage. Half way through the day U2 came on suddenly Bono was pointing to me in the crowd and after a [number] of other girls were pulled out, he finally jumped down and got the security guys to pull me out and danced and hugged me, and I even got a kiss. I’ve been a huge U2 fan ever since.”

    In 2011, The Guardian cited an article by The Sun, who apparently tracked down Khalique. “The crowd surged,” she reportedly claimed, “and I was suffocating—then I saw Bono.” But The Guardian also notes that Bono “had long made a habit of pulling girls out of the audience and dancing with them.” Was this just another example, only amplified by the drama of a hungry rock band playing the biggest stage imaginable? 

    Reasoning aside, it’s the kind of larger-than-life moment that came to define U2. It also happened at an ideal time, just ahead of their next album, 1987’s The Joshua Tree, a critically acclaimed and multi-platinum blockbuster that topped the Billboard 200 and spawned some of the bands most enduring singles, including “When the Streets Have No Name,” “With or Without You,” and “I Still Haven’t Found What I’m Looking For.”

    Live Aid also spawned one of rock’s most celebrated performances ever: Queen’s triumphant eight-track set featuring anthems like “We Are the Champions,” “Radio Ga Ga,” and “Crazy Little Thing Called Love.” That show was even etched into film history with an exacting recreation in the 2018 Freddie Mercury biopic Bohemian Rhapsody

    This article originally appeared last year. It has been updated.

  • Catherine O’Hara’s tear-jerking eulogy for John Candy was a master class in memorializing a true friend
    ,

    Catherine O’Hara’s tear-jerking eulogy for John Candy was a master class in memorializing a true friend

    Now that O’Hara has also passed, the beautiful words she spoke for Candy resonate in a new and painful way.

    The comedy world lost two of its great lights decades apart. John Candy in 1994, and Catherine O’Hara on January 30, 2026. But O’Hara left something behind from that first loss: a nine-minute eulogy that remains one of the most moving tributes one friend has ever paid another.

    Candy was the big-hearted comic-actor best known for his string of charismatic film roles in the 1980s and early 1990s, from Stripes to Planes, Trains, and Automobiles to Uncle Buck. He died at just 43 in 1994, following a heart attack. O’Hara, his close friend and collaborator from SCTV, Second City Toronto, and Home Alone, delivered the eulogy at his memorial service in Toronto, and in nine minutes she managed to capture everything that made him irreplaceable.

    She opened the beautiful eulogy by summarizing all of the ways he “enriched” other people’s worlds, including so many small acts of kindness.

    “I know you all have a story,” she says in the clip. “You asked him for his autograph, and he stopped to ask you about you. You auditioned for Second City, and John watched you smiling, laughing. And though you didn’t get the job, you did get to walk away thinking, ‘What do they know? John Candy thinks I’m funny.’ You walked behind John to communion. You carried his bags up to his hotel room, and he said, ‘Hey, that’s too heavy. Let me get that for you.’ And then he tipped you. Or was that a day’s pay?…you caught a John Candy scene on TV one night, right when you needed to laugh more than anything in the world.” 

    Meeting John Candy

    O’Hara also shares her own story of meeting Candy in 1974, when he was director of the Second City touring company.

    “When I joined him in the main cast, he drove us all the way to Chicago to play their Second City stage,” O’Hara recalls. “And I had a crush on him, of course, but he was deeply in love with [his wife, Rosemary]. So I got to be his friend, and I closed the Chicago bars with him, just to be with him. We did SCTV together. When we all tried to come up with opening credits that would somehow tell the audience exactly what we were trying with the show to say about TV, it was John who said, ‘Why don’t we just throw a bunch of TVs off a building?’”

    The whole eulogy is filled with lovely details, as O’Hara reflects on Candy’s graciousness, his collaborative spirit, and the overall sparkle of his comedy.

    “His movies are a safe haven for those of us who get overwhelmed by the sadness and troubles of this world,” she says. “As if he knew he’d be leaving us soon, John left us a library of fun to remember him by.”

    And she ends with a moving note to illustrate their closeness: “God bless, dear John, our patron saint of laughter. God bless and keep his soul. I will miss him. But I hope and pray to leave this world too some day and to have a place near God—as near as any other soul, with the exception of John Candy.” 

    The Candy legacy

    After the eulogy video resurfaced on Reddit, dozens of fans shared their emotions.

    “I was eight years old when he passed, and to this day no celebrity death has ever hit me harder,” one user wrote. “How could such a bright light be gone so early? She’s right, his films are a safe haven for the soft-hearted. RIP.” Another added, “John Candy died over 30 years ago, but it still stings like it was yesterday. He left such an incredible and rare cultural mark.”

    Candy was also the subject of the 2025 Amazon Prime documentary John Candy: I Like Me, directed by Colin Hanks and produced by Ryan Reynolds, in which O’Hara herself appears alongside other friends and collaborators. Conan O’Brien has talked frequently about how much he loved the SCTV star; he once talked to Howard Stern about his impactful meeting with Candy back in 1984, when O’Brien was a 21-year-old student at Harvard University (and president of the Harvard Lampoon).

    “We ended up hanging out,” O’Brien recalled, “and what I remember most clearly is that he was everything I wanted him to be. He was John Candy.” 

    This article originally appeared last year. It has been updated.

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