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.
True! And the bad guy is usually a more entertaining role than the hero. A lot of black acting careers have been made bor-ing by playing only white bread heroes. I found it refreshing to see the DVD the other day of Denzel Washington playing the Cop from Hell in Training Day the other day. (Not that it's realistic, in spite of its director's claims, but at least it was entertaining as hell.)
I have to disagree. I think it is deliberate. It's way too obvious. All these high profile crime cases where they purposely change the perps from black to white...I mean, they have to know what they're doing. But I think the reason they do it is because they know nonwhites will protest, boycott and scream racism if they are portrayed at all negatively. Whites, especially white males, are the only group they can safely pick on. Since every show needs a villain, and every commercial needs a dummy, and they don't dare use minorities for these roles, they purposely use white males. Maybe it's time for white males to start protesting and boycotting.
I watch Law & Order fairly religiously, and while I've seen a fair amount of white-on-white crime depicted on it (Russian gangsters are becoming frequent baddies), I can recall only one case from the past year or two where the killer was black, and the victim white. That was a story of a black guy murdering and ripping off a white female drug dealer. Another case involved a black kid who shot a white female cop (without killing her), simply because of the color of her skin, and got off in a case of jury nullification.
Within that story was a black-on-black murder -- the kid claimed he was getting revenge on the police for his older brother's death years earlier, but that was pretty muddled. The murder had been covered up, or was it? The since deceased white detective on the case had ruled it a suicide, but a black convict in jail for life claimed he had shot and killed the dead brother. The medical examiner from the time was a corrupt, incompetent white woman (again!), so she hadn't done a proper exam of the corpse, and had since lost her records, while the crooked funeral home (race unknown) had sold the corpse to a medical research firm.
Well done.
However, "pick on" rather simplifies their goal.
White liberals and "Others" willl not be satisfied till our race is oblitareated from this earth.
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