Mark Rathbun Details Aftermath Disinformation About Troubled Man’s Death

Mark Rathbun details Leah Remini and Mike Rinder’s “warped mind projection” and fabricated disinformation about the death of a troubled young man.

TRANSCRIPT:

Episode 2 [of Aftermath], The Ultimate Failure of Scientology. Ultimate failure is Mary—some girl named Marie—I don’t know. I’m not going to focus on her. But here’s Leah Remini right from the beginning, okay. They put a bunch of emotional stuff in here about a woman whose husband committed suicide, and then Leah comes in again, with the, you know, the Chinese prison guard—communist Chinese prison guard, circa 1950s.

“If you feel suicidal in the Church of Scientology, you are actually going to be in trouble for having those feelings.”

I’m telling you, I’ve read everything in Scientology and I have applied everything in Scientology, okay, and I’ve been at every level of Scientology for 28 years, right—she made that up. That’s just straight out of her warped mind projecting it onto Scientology. Doesn’t exist.

It’s just so—it’s anathema to everything Scientology tech stands for, okay, which is complete and utter ability to communicate anything—or the process doesn’t work, okay. First thing you learn in Scientology and applicable from the very bottom to the very top of the Bridge. So, she just made this up.

So, she says, “So there’s a lot of things to add to a person being suicidal or depressed in Scientology, but,” she says, “they learn very early on to suppress these feelings.”

I mean, I just—I can’t imagine anything more 180 degrees reverse from the truth that she could utter. I mean, she’s, you know—I’m jaw-dropping and I’m on Episode 2 by this point. You know, because Season 1 was bizarre enough. It’s just so, it’s so against every process of Scientology, whether administrative or technical, and personal—from a personal counseling up the Bridge perspective, it’s precisely the opposite.

You learn to suppress these feelings? That’s the whole purpose of the entire subject, is to take the suppress off of feelings. That’s the whole formula. That’s how warped 180 degrees that is. Mike Rinder, “Right, right.” That’s his contribution.

So, this kid named Aaron Poulin committed suicide, right. I guess 15, 18 years ago, something like that, who was in the Sea Organization. And so, his former wife is talking about the guy generally, okay. And says how he got in trouble because he’s out late at night going to clubs.

Well, yeah, that would be—that would be a thing you would probably get in trouble for in Scientology. They have a high—it’s a priesthood, essentially, the Sea Organization. You don’t do that. If you’re a Scientologist, go break a leg. Do whatever you’re going to do, but you’re in the Sea Organization. It’s the lifetime commitment. It’s the priesthood.

Leah cuts her off as she’s explaining that this guy had some pretty deviant stuff going on. She says, “He’s 18 years old and goes to an 18-year-old nightclub. He gets in trouble for dancing.” I mean, she’s testifying. She cuts off the woman about to tell you that this guy has some serious twisted stuff happening, and she literally cuts her off and provides her own testimony. Now suddenly, we’re watching this story with the datum planted in our head that the kid got in trouble for dancing. She made it up.

And then she goes off into this whole thing about, it’s a result of how children are treated in the Sea Organization. So it’s—we’re completely divorced from reality now. She cut the woman off, took over the narrative and then riffed on how her false narrative, that she made up, is all because of the Scientology views about children. It’s made up.

So, “Intransitive-Rinder” comes in, because now they say what happened was the kid committed suicide, and Marie was informed and came down to the scene and all that. And so Rinder, in his intransitive way, starts riffing about image impact on Scientology.

“If the spouse of an executive is a mess-up, there is pressure brought to have them divorce and find another one.” Two intransitives in one sentence, “it is,” “there is.” By who? Who’s the actor? Where’s the policy? If it’s—you say the actors don’t matter, what’s the policy? He just says it. Mike just—projection. In his mind, that becomes Scientology.

He says, “When Aaron committed suicide, anyone,” again intransitives, listen to the intransitives, “When Aaron committed suicide, anyone who was around at the time, including Marie, was brought—who was brought to the scene, is to be controlled.” Is to be controlled—by who? Okay.

And so, he gets away with all this stuff because Mike Rinder’s “never been anywhere.” He’s “never put his slimy little paws on anything that had any adverse effect on anybody else.” And yet, Mike Rinder was head of the department at the location where Marie worked and Aaron worked—the head of the department that specifically deals with those things. He would be the second person to be notified. Where’s Mike Rinder? Why’s he talking in the intransitive? What did he know and when did he know it? And what did he do and when did he do it? Because this was Mike Rinder’s job.

So much so, that it gives him the authority to make these intransitive subjunctive statements. But I got to tell you, at the dates that are given, at the time that’s given, Mike Rinder is sitting but two floors from Marie when this happens. And furthermore, I’m pretty sure her mother—not her mother, but Aaron’s mother—was one of his employees.

If not then, she had been in the past. And his father—if not then, he had been in the past. So, Mike Rinder should’ve been all over this for personal and job reasons. But you don’t get beyond the intransitive with him on this. It should give you a lot of questions about this production.

Minimally, being the guy whose job—this is his job on that watch—minimally he should be citing chapter and verse the policies that apply. But he doesn’t. “It is to be” and “there is” and “there was.” This goes throughout the series, this is—I’m telling you, every episode from here on out this arises. Where is Mike Rinder? And if something nefarious happened, why doesn’t he just tell us about it since it was his job to be there and take care of it?

Then Leah Remini goes into a full-blown psychoanalytic rundown on this guy she never met or knew, with no data provided by the wife to base it on. “They looked at him as somebody undesirable.” Who’s they? Mike, you were there. You were responsible.

“They didn’t have compassion for him.” How do you know? You weren’t there. Mike was supposed to be there. Mike presumably was there, but he’s Mickey the Dunce right now. He’s not saying nothing.

“They created a person who felt he couldn’t communicate.” Based on what? He may have been the greatest communicator in the world for all we know. He may have put Ronald Reagan to shame. We have no data. She’s just riffing as she goes along.

“He felt tremendous guilt for whatever he was, whatever he was doing because the Church is not a passionate one, the Church of Scientology is not a passionate one.” “Whatever he was doing.”

This thing—I’m really—you know, I’ll tell you, it is really a sad commentary on the culture in which we live that this thing survived beyond Episode 2 of Season 2. Because that thing was so completely—and you only learn on the backside at the very end, it’s not even emphasized, but it’s just thrown in to the side—that the guy actually was whoring himself out. He was a prostitute.

I mean, yeah, you wouldn’t be able to go to a club if you were in the Sea Org on a weekend, weekday night, at least, right. So, yes, certainly, you know—and of course, nowhere—and clearly from the facts that we do know, the kid was withholding that, actively hiding it, living a secret second existence. Which, you know, on its face was so opposite to the mores of the group that he was part of that, you know, yeah, it would have been a problem. And so, it’s clear from the thing that the Church had no idea because the guy was actively hiding the secret life that he had going on.

But no, they’ve got it all figured—they’ve staged this whole thing and produced it to make it look like he was discriminated against because he had views that weren’t strictly heterosexual. The whole entire production is based on that and when you get to the end of it you find out the Church had no idea what was going on with the guy.