Drawing upon and advancing Alexander Galloway and Eugene Thacker, this chapter demonstrates how their theory of networks can provide a model for understanding how conspiracy theories function as a bulwark for the status quo and fascist creep, rather than being the threat to that status quo which they are perceived as. We also develop a model for conspiracy culture as the intersection of neoliberal economics and McLuhanian conceptions of technology. Second, I discuss the aspect of play in conspiracy culture, and the political consequences of that aspect of play. I suggest that the playing out of conspiracy theorizing is a way of feeling agency in a situation of political impotence, but through means themself politically impotent. Third, this chapter discusses the widely-noted epistemological crisis which is thought to have as its symptom conspiracy culture. A discussion of the distinction between corruption and capture leads us to consider the maximizing of the aesthetic in postmodern culture, which, insofar as it affects science communication, produces in the subject a comingling of the reception of the aesthetic and technical information. Finally, I address the question of interpretive strategies brought to bear upon Jones, Pynchon, and PKD, their convergences and divergences.