Posted on 09/06/2003 6:52:29 AM PDT by mrustow
It's 10 p.m.; do you know where the truth is? While the mainstream, socialist news media lurch from one embarrassing scandal to another, social engineers operate with impunity, using "realistic" entertainment programs as propaganda tools.
Consider NBC's Law & Order. L&O's liberal producer, Dick Wolf, controls a stable of five crime-oriented shows (also Law & Order: Special Victims Unit, Law & Order: Criminal Intent, L.A. Dragnet and Crime & Punishment), making him one of the most powerful men in Hollywood.
For years, Law & Order, which is filmed in Manhattan, advertised its episodes as being "ripped from the headlines," a claim Wolf and star Jerry Ohrbach still make in interviews. But instead of depicting reality, Wolf's scriptwriters take high-profile crimes committed by blacks, and replace the bad guys with whites, and invent white racist monsters that bear no relation to anything seen in New York during the past 100 years. And so, while according to NYPD crime reports, over 89 percent of suspects in violent crimes are black or Hispanic, L&O presents a looking-glass world in the grips of a white crime wave.
In "Teenage Wasteland," an episode that originally aired on February 7, 2001, the true case of a group of black teenagers who ordered Chinese food, and murdered the delivery man, is turned into a group of middle-class, white kids.
"Myth of Fingerprints" (November 14, 2001) tells of a white, female forensics chief whose years of false testimony has sent many innocent men to jail. One of those innocents was murdered in prison, resulting in the official's conviction for manslaughter.
"Fingerprints" was clearly based on the real case of former Oklahoma City supervising forensic chemist Joyce Gilchrist, nicknamed "black magic," based on her longtime success at bringing about convictions. On September 25, 2001, as Ken Raymond reported the following day in the Oklahoman, “Oklahoma City Police Chief M.T. Berry … fired forensic chemist Joyce Gilchrist, whose lab techniques and testimony have been under scrutiny by federal, state and local investigators for several months.
“Gilchrist, 53, was fired for a variety of reasons, including ‘laboratory mismanagement, criticism from court challenges and flawed casework analysis,’ according to a police statement.” (Registration is required; see the Oklahoman’s Joyce Gilchrist file.)
For years, Gilchrist’s critics claimed she had falsified evidence and given false testimony, which caused 23 men to be sentenced to death, eleven of whom were executed. Note, however, that Joyce Gilchrist is black, and unlike the fictional white official, has never been prosecuted.
Seven months after the October, 2002 Washington, D.C. sniper case was closed with the arrest of suspects John Muhammad and Lee Malvo, L&O dramatized the case, but with the shooter as a white man! ("Sheltered"; May 14, 2003.)
"Smoke" (May 21, 2003) opens with the death of a child, whose adoptive father, a famous entertainer, had dropped him, while dangling him from a hotel room window. The detectives eventually discover that the entertainer would also arrange for underage boys to accompany him to his mansion, where he would sexually violate them.
When I told a not particularly media-savvy neighbor who is the mother of four small children that story line, she immediately said, "Michael Jackson!" But on L&O, the character is depicted as a WHITE comedian.
Remember the Danny Almonte case? Almonte was the 14-year-old Dominican fraud who -- through the connivance of his father, Felipe de Jesus Almonte, and Bronx-based, Dominican Little League coach Rolando Paulino -- passed himself off as a 12-year-old, in order to play in the 2001 Little League championships. But in "Foul Play" (May 1, 2002), the coach magically becomes a blond-haired, white man, who is somehow convicted of a murder committed by the player's father.
L&O's creative team must read some interesting publications, since many of their "ripped from the headlines" stories never happened. Consider their obsession with non-existent, murderous white supremacists, whom they depict as besieging Manhattan.
In "Open Season" (November 20, 2002), a William Kunstler-like defense attorney is murdered while celebrating the acquittal of a guilty-as-hell black defendant for shooting a white policeman. The killer, a member of a white supremacist group, then uses his defense attorney to unwittingly pass along information to his co-conspirators, who murder a prosecutor in another state. The defense attorney is charged with aiding and abetting the supremacists, before she is shot by a female supremacist.
Note that the real basis of the episode was the indictment of radical attorney, Lynne Stewart “with helping terrorist conspirator Sheikh Omar Abdel Rahman maintain contact with the outlaw terror organization Islamic Group [IG] from behind the bars of a federal prison,” as Mark Hamblett wrote in the July 23 New York Law Journal, resulting in the 1997 murder of 62 people by IG in Luxor, Egypt. Sheik Abdul Rahman, is the convicted ringleader of the 1993 World Trade Center bombing. The most serious charges against Stewart were dismissed in July.
In "Prejudice" (December 12, 2001), a racist, white real estate agent progresses from writing a letter to his co-op board, to try and keep an interracial couple out of his building, to flashing a gun at a black colleague, to murdering a black man who beat him to a taxi. Such a case would have been fantastic in 1951, let alone in 2001.
In "Genius" (April 2, 2003), a white, violence-embracing ex-con-writer stabs a white cabby to death. Viewers are then given mixed messages, as the cab driver turns out to be a fugitive, white supremacist racial murderer. In another surreal, L&O touch, ordinary black New Yorkers are repeatedly shown to be so erudite that they are routinely experts on French poetry.
In "Kid Pro Quo" (April 30, 2003), the dedicated director of admissions at a tony private school, is murdered by her corrupt, racist boss. The victim sought to get a deserving but poor black girl admitted, but was overridden by the boss, who'd taken a bribe to accept the inferior child of a Jewish pornographer.
And then there's the homophobia angle. In the real world, Manhattan is, with San Francisco, one of the two most gay-friendly areas in America. But not in L&O's alternate universe. In "Girl Most Likely" (March 27, 2002), a private school student murders her lesbian lover, in order to hide the fact that she is gay.
Last, but not least, comes xenophobia. In "Patriot" (May 22, 2002), a pale, blonde-haired former special forces officer kills a Moslem immigrant he had surveilled, and whom he suspected of being a terrorist. The prosecutor presents the imaginary patriot as a monster, even as the story suggests that the dead man WAS a terrorist.
Now beginning its fourteenth season, Law & Order, still a top-rated show and perennial Emmy nominee for Outstanding Drama Series, serves in socialists' culture war against whites. While Dick Wolf has succeeded at endearing himself to black, gay, and Hispanic pressure groups, if he seeks to cause whites to hate other whites, while being more sympathetic towards blacks, he has failed miserably. It is no secret which groups are committing almost all of the violent crimes in New York and other urban areas. All of the propaganda in the world won't change that reality, or erase the public's knowledge of it.
OPERATOR: Hello?
MRUSTOW: Yeah, what's the number for 9-1-1?
It is interesting that almost all military dramas have to end in a court room. Military action is almost always a crime!
My understanding of the criminalization of military action in entertainment, is because of not only Hollywood leftwing politics, but because so few Americans under the age of 50 have any military experience.
This ain't really new though; when I got home from Vietnam TV had 3-4 programs a week where "crazed vets" went psycho and went on a killing spree. I remember the TV series Manix had 1/2 the episodes on psycho vets and my family really expected me to go haywire.
My point here is that hollywierd does have power to shape opinion just ask and Vietnam vet!!
The demonization of the Vietnam vet was a tagteam job. Hollywood wouldn't have been half so effective, if not for Uncle Walter and his comrades in the "news" business.
It sure was an interesting year! Hadn't noticed that connection til you pointed it out.
We should all be so lucky!
I watrched NYPD Blue religiously until about three years ago, whne its creative genius, writer-producer David Milch left the show. Tried watrching it after tha, but it was pc city, and Bochco started substituting affirmative action casting for good writing, which made it doubly bad.
Stix doesn't deal with the real questions: How did "Law and Order" get to be such a "chick" show? How'd Wolf manage to make a cop show that guys can't stand?
Since Stix failed to deal with the real questions, why don't you give it a shot?
Also count how many times the evildoer is a businessman. White of course. Compare with NYPD Blue which has a more balanced (realistic) representation of criminals race.
The funny thing is, NYPD Blue's realism is still only relative. Even a pc TV critic at the New York Daily News, David Bianculli, noted about seven years ago, that NYPD Blue seemed to find every white criminal on the Lower East Side, where it's set. The joke is, that there are virtually NO violent white criminals on the Lower East Side!
I never had much interest in Law and Order, but it seems to be further from the "realities" of day to day police life. It looks like they just take stories out of the newspapers and dramatize them, rather than look at what actually goes on in police work. This means they'll be more "high profile" crimes with political or class overtones, more opportunities for scandalizing and preaching.
Also, are the main characters White? There are certain conventions in these shows you can't get around. If you have Black and Latin cops or lawyers they can go after Black and Latin crooks. If your stars are White, the villains are going to be White as well. Even if you have token Black, Hispanic or Asian characters, the villains will still tend to be White.
There's nothing wrong with some variety in story line. Who really wants to watch McCoy prosecute a typical crackhead killer every week? But the show does take place in Manhattan, and the range of defendants over many years is not at all realistic. It's obviously true the show is trying to make a political point.
If you compare L&O to NYPD Blue, you notice a much more realistic range of defendants on NYPD Blue. Of course, NYPD Blue is a more of a boot-licking pro-police show than L&O. It's supposed to be fine with the audience when the cops get frustrated enough to want to beat a man in custody, when Sipowitz's relatives die we're supposed to understand his desire to see the killers dead (but not that of civilian vigilantes), etc.
Anyway, L&O also loves to introduce characters to stump for big, big liberal government. This characteristic was worse in the mid- to late nineties, but you still see it now and then. Whenever the detectives go to check the records of some state agency-- Child Services, Parole, whatever-- you know you're going to hear some poor, conscientious, overworked government employee explain to the detectives how he's got 4 million clients, inadequate time to investigate, etc. New York just doesn't give its bureaucracies nearly enough money, you see.
There are certain conventions in these shows you can't get around. If you have Black and Latin cops or lawyers they can go after Black and Latin crooks. If your stars are White, the villains are going to be White as well. Even if you have token Black, Hispanic or Asian characters, the villains will still tend to be White.
Those conventions have increasingly taken hold in real life too. Racist black police officials, working together with the media and anti-police activists, have made it harder and harder for white cops to arrest black criminals. Thus, now the unwritten rule is that only black and Hispanic cops are "permitted" to really do The Job in minority neighborhoods. However, many of the new breed of affirmative action minority cops are so racist, that they are criminal sympathizers, and refuse to do The Job.
You won't find absolute accuracy in series television. A sense of "believability" -- shows that don't outrage viewers with their implausiblity -- is the desired quality.
If there's distortion in NYPD Blue, it's more of the white lie that we need for society to function, while Law and Order seems more overtly propagandistic, or at least, more manipulative and cavalier.
For the "real story" about Law and Order, go here (and understand that the "real story" behind the "real story" is how there ever came to be a "Mrs. Michael Kinsley" to begin with.
I just about have it narrowed down to Ilo Ilo, Cebu City, Butuan City, or Samal Island, east of Surigao Del Sur.
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