Did
Russian agents try to kill Mr Skripal in England? Probably not.
Notice
that the governments of the US, UK, France, and Germany did not require any
evidence to decide that the Russian government used military-grade nerve gas to
attack two people on an English park bench and a UK policeman. It makes no
sense. There is no Russian motive. http://www.informationclearinghouse.info/48963.htm
The
motive lies in the West. It is the latest orchestration in the ongoing
demonization of Russia. The demonization is a huge boost to the power and
profit of the military/security complex and prevents President Trump from
normalizing relations. The military/security’s budget and power require a major
enemy, and Russia is the designated enemy and will not be allowed to escape
that assigned role.
The
false accusations against Russia are damaging the Western countries that make
and support the accusations. There has never any evidence provided for any of
the accusations. Consider them: the Malaysian airliner, Crimea, the polonium
poisoning of a Russian in the UK, Putin’s alleged intention to restore the
Soviet Empire, Russiagate and the stealing of the US presidential election,
other charges of election theft or interference. The current Skripal poisoning.
Accusations abound, but never any evidence. Eventually even insouciant Western
peoples begin to wonder about the transformation of evidence-free accusations
into truth.
What
do leaders and peoples of the few independent and sovereign countries think
when they see a signed condemnation of Russia for poisoning a long-retired UK
double-agent without a scrap of evidence by the political heads of the four
major Western countries? What do the Chinese think? The Iranians? The Indians?
We know that the Russians are beginning to think that they are being set up by
demonization for invasion, as was Saddam Hussein, Gaddafi, Assad, Yemen, and
the attempt on Iran. It is finally dawning on Russia that all these accusations
are not some kind of mistake that diplomacy can straighten out, but, instead,
the setting up of Russia for military attack.
. . .
Source: Paul Craig Roberts, https://www.paulcraigroberts.org/2018/03/15/lies-can-lead-war/,
19 March 2018
Lots
of other good analysis on this, which one will not get from the corrupt,
corporate-owned media like CBS, Fox News, etc. (http://washingtonsblog.com/2009/12/5-reasons-that-corporate-media-coverage-is-pro-war.html),
is at these pages:
***
Novichok
predictive programming
The
Superclass use every means to condition the masses, including television shows. For ensample, the TV series The Lone Gunmen had this for the plot of
its first episode:
In the premiere episode,
which aired March 4, 2001, members of the U.S. government conspire to hijack an
airliner, almost hitting the World Trade Center, and blame the act on
terrorists to gain support for a new profit-making war. The episode aired six
months prior to the September 11 attacks.[5]
Source: https://en.wikipedia.org/wiki/The_Lone_Gunmen_(TV_series),
opened 19 March 2018
This
poisoning incident appears to be no different:
In
an even stranger
coincidence, the British government’s charges echoed the current seasons of
the British-American spy drama Strike Back. Nina Byzantina tweeted the
summaries of recent episodes which showed an uncanny similarity to current
events.
Episode
50 ran in the U.K on November 21 2017 and in the US on February 23 2018:
Meanwhile,
General Lázsló shuts down Section 20, forcing Donovan to work in secret. She
discovers that Zaryn is in fact Karim Markov, a Russian scientist who allegedly
killed his colleagues with Novichok, a nerve agent they invented.
Episodes
51 ran in the U.K on November 28 2017 and in the US on March 2 2018:
Section
20 track Berisovich’s meth lab in Turov where Markov is making more Novichok
and destroy it, though Berisovich escapes with Markov.
Source: http://freewestmedia.com/2018/03/17/porton-down-not-able-to-identify-chemical-used-on-russian-ex-spy/,
opened 19 March 2018
There
are dangerous alliances that make such things possible:
. . .
Lawrence
Suid, author of ‘Guts and Glory:
The Making of the American Military Image in Film’told Al Jazeera, “I
was teaching the history of the Vietnam War, and I couldn’t explain how we got
into Vietnam. I could give the facts, the dates, but I couldn’t explain why.
And when I was getting my film degrees, it suddenly occurred to me that the
people in the US had never seen the US lose a war, and when President Johnson
said we can go into Vietnam and win, they believed him because they’d seen 50
years of war movies that were positive.”
As
Suid points out, generations of Americans had been raised watching John Wayne
valiantly storm the beaches of Normandy in films like ‘The Longest Day,’ and thus were
primed to be easily manipulated into supporting any US military adventure
because they were conditioned to believe that the US is always the benevolent
hero and inoculated against doubt.
This
indoctrinated adoration of a belligerent militarism, conjured by Hollywood
blockbusters, also resulted in Americans being willfully misled into supporting
a farce like the 2003 Iraq War. The psychological conditioning for Iraq War
support was built upon hugely successful films like ‘Saving Private Ryan’ (1998),
directed by Steven Spielberg, and ‘Black
Hawk Down’ (2001), produced by Jerry Bruckheimer, that emphasized
altruistic American militarism. Spielberg and Bruckheimer are two Hollywood
heavyweights considered by the DoD to be their most reliable collaborators.
Another
example of the success of the DoD propaganda program was the pulse-pounding
agitprop of the Tom Cruise blockbuster ‘Top
Gun’ (1986). The movie, produced by Bruckheimer, was a turning point in the DoD-Hollywood relationship, as it
came amid a string of artistically successful, DoD-opposed, ‘anti-war’ films,
like ‘Apocalypse Now,’
‘Platoon’ and ‘Full Metal Jacket,’ which gave
voice to America’s post-Vietnam crisis of confidence. ‘Top Gun’ was the visual
representation of Reagan’s flag-waving optimism, and was the Cold War cinematic
antidote to the “Vietnam Syndrome”.
‘Top Gun,’ which could not have
been made without massive assistance from the DoD, was a slick, two-hour
recruiting commercial that coincided with a major leap in public approval
ratings for the military. With a nadir of 50 percent in 1980, by the time the
Gulf War started in 1991, public support for the military had spiked to 85
percent.
Since
Top Gun, the DoD propaganda machine has resulted in a current public approval for the military of 72
percent, with Congress at 12 percent, the media at 24 percent, and even
Churches at only 40 percent. The military is far and away the most popular
institution in American life. Other institutions would no doubt have better
approval ratings if they too could manage and control their image in the public
sphere.
It
isn’t just the DoD that uses the formidable Hollywood propaganda apparatus to
its own end… the CIA does as well, working with films to enhance its
reputation and distort history.
For
example, as the ‘War on Terror’
raged, the CIA deftly used ‘Charlie
Wilson’s War’ (2007) as a disinformation vehicle to revise
their sordid history with the Mujahideen in Afghanistan and to portray
themselves as heroic and not nefarious.
The
CIA also surreptitiously aided the film ‘Zero Dark Thirty’ (2012), and
used it as a propaganda tool to alter history and convince Americans that
torture works.
The
case for torture presented in ‘Zero
Dark Thirty’ was originally made from 2001 to 2010 on the hit TV
show ‘24,’ which had
support from the CIA as well. That pro-CIA and pro-torture narrative continued
in 2011 with the Emmy-winning show ‘Homeland,’
created by the same producers as ‘24,’
Howard Gordon and Alex Gansa.
A
huge CIA-Hollywood success story was Best Picture winner ‘Argo’ (2012), which ironically
is the story of the CIA teaming up with Hollywood. The CIA collaborated with
the makers of ‘Argo’
in order to pervert the historical record and elevate their image.
The
fact that this propaganda devil’s bargain between the DoD/CIA and Hollywood
takes place in the self-declared Greatest Democracy on Earth™ is an irony
seemingly lost on those in power who benefit from it, and also among those
targeted to be indoctrinated by it, entertainment consumers, who are for the
most part entirely oblivious to it.
If
America is the Greatest Democracy in the World™, why are its military and
intelligence agencies so intent on covertly misleading its citizens, stifling
artistic dissent, and obfuscating the truth? The answer is obvious… because in
order to convince Americans that their country is The Greatest Democracy on
Earth™, they must be misled, artistic dissent must be stifled and the truth
must be obfuscated.
In
the wake of the American defeat in the Vietnam war, cinema flourished by
introspectively investigating the deeper uncomfortable truths of that fiasco in
Oscar-nominated films like ‘Apocalypse
Now,’ ‘Coming Home,’
‘The Deer Hunter,’ ‘Platoon,’ ‘Full Metal Jacket’ and ‘Born on the Fourth of July,’
all made without assistance from the DoD.
The
stultifying bureaucracy of America’s jingoistic military agitprop machine is
now becoming more successful at suffocating artistic endeavors in their crib.
With filmmaking becoming ever more corporatized, it is an uphill battle for
directors to maintain their artistic integrity in the face of cost-cutting
budgetary concerns from studios.
In
contrast to post-Vietnam cinema, after the unmitigated disaster of the US
invasion of Iraq and the continuing quagmire in Afghanistan, there has been no
cinematic renaissance, only a steady diet of mendaciously patriotic,
DoD-approved, pro-war drivel like ‘American
Sniper’ and ‘Lone
Survivor.’ Best Picture winner ‘The Hurt Locker’ (2008), shot with
no assistance from the DoD, was the lone exception that successfully dared to
portray some of the ugly truths of America’s Mesopotamian misadventure.
President
Eisenhower once warned Americans to “guard
against the acquisition of unwarranted influence, whether sought or unsought,
by the military industrial complex.”
Eisenhower’s
prescient warning should have extended to the military industrial entertainment
complex of the DoD/CIA-Hollywood alliance, which has succeeded in turning
Americans into a group of uniformly incurious and militaristic zealots.
America
is now stuck in a perpetual pro-war propaganda cycle, where the DoD/CIA and
Hollywood conspire to indoctrinate Americans to be warmongers and, in turn, Americans
now demand more militarism from their entertainment and government. Wash.
Rinse. Repeat.
The
DoD/CIA-Hollywood propaganda alliance guarantees Americans will blindly support
more future failed wars and will be willing accomplices in the deaths of
millions more people across the globe.
Source: Michael McCaffrey, https://www.lewrockwell.com/2018/03/no_author/the-pentagon-hollywoods-successful-and-deadly-propaganda-alliance/,
opened 19 March 2018
Will
the peoples in the States and the rest of the Western countries come to their
senses, or will those who speak up in defense of a slandered Russia and against
the war machine of the lying Western Elite be labeled traitors and treated as
such by the delusional masses?
--
Holy
Ælfred the Great, King of England, South Patron, pray for us sinners at the Souð, unworthy though we are!
Anathema
to the Union!
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