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.
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!