I’ve heard it repeated time and time again, that in order for the elites to do something to the unsuspecting slave class, they must tell us first. I’ve heard many people say this, but I’ve never heard anyone explain where this idea comes from. If you really think about it, the idea is an ancient one. Think about the many fables in which a man makes a deal with the devil, only to discover later that they were so wrapped up in the gift that he was bestowing on them that they didn’t pay close enough attention to the fine print of the contract.You see, the devil, despite his power and his seductive nature, it seems that even he must fully inform his prey of the consequences of accepting his gift before feasting on their souls.
So maybe this is the origin behind the idea that the ruling class must fully inform their victims before they feast. Perhaps as part of some twisted moral code, they feel this alleviates them of any wrongdoing. This is the twisted logic that justifies their predatory existence.
While I’m not sure if this indeed is the modus operandi of the evil that has managed to pool and congeal at the top of the power hierarchy, if it is, what then is the fine print? Where do they telegraph the consequences of allowing them to rule us? Where is the obscure legal language that describes in detail exactly how they will ruin us?
Some have suggested that the ruling class utilizes the same methods to communicate these hidden clauses in the social contract the same way they communicate all things they wish the public to know without really thinking about. They use Holly wood. Probably because there are so many instances that when examined closely it does appear as if that is precisely what is happening. The age old argument of art imitating life or life imitating art gets pushed aside when art seems to depict future events with such stunning detail and accuracy, that it seems that the only way this could occur is if the artists themselves had prior knowledge of what was to come or even instrumental in their planning and execution.
One example of this is the film “Wag the Dog” is a film you could say that seems to be reality so cloaked heavily in false satire and sarcasm that it’s almost as if the ruling class isn’t just telegraphing to the people what it is they do intend to do, but that if indeed that is what this film is an example of, they are rubbing it in our faces.
Wag the Dog was released in 1997, this is important to know because this is well before 9/11 happened and pre-dates any popular understanding that there was a “deep state” by decades. This is also a time before the internet was widely available to the public and most everyone got their news from networks owned by billionaires that sometimes act as quasi government agencies like CNN.
Wag the Dog was produced and directed by Barry Levinson, who just so happens to party in the Hamptons with Bill Clinton. This is a significant point that we will come back to later not just because it shows his deep ties to the ruling class but because this coziness that Hollywood producers have with the ruling class, something Levinson is deeply aware of, is reflected in the film he produced and directed.
The film begins by laughing in the audience’s face. You see, the title itself is part of this obscured legal language of the ruling class. “Wag the Dog” on it’s face just seems like an entertaining word play, it’s not immediately apparent that there is any deeper meaning to it. Most of the public will see these words and just think it’s a humorous but meaningless phrase. And so the film in its first few moments tells you exactly what it means knowing full well by doing so it’s not giving up any secrets to the sedated audience, it’s simply giving them what they crave. Amusement.
“Why does a dog wag its tail?” The film asks with a pleasant unassuming serif font with patriotic yet folksy music playing in the background.
“Because the dog is smarter than it’s tail,” the answer comes, “if the tail were smarter, it would wag the dog.”
They are telling you just in the first few seconds of this film that the way that the world works is that the intelligent manipulate the unintelligent. That is the meaning of the title, but it goes beyond that. Since the title is wag the dog, not wag the tail, they are also saying that what you perceive as being the intelligent force behind events is the complete opposite of reality and they are smugly telling you this literally in black and white before they tell you how they do it.
If this film is telegraphing, it’s doing it plain as day as those behind it laugh in the face of the audience who bought the tickets.
The film now begins with a political ad in a presidential campaign. The ad is cheesy and we gather from the equally cheesy slogan “Don’t change horses in mid stream” that it is a reelection campaign. The ad is telling the american public, don’t upset the status quo, just go with the president you have because it’s the best you can do and you wouldn’t want to upset things.
We now go to the white house that approved this ad, it’s after hours and in the basement in a secret room. Robert De Niro is playing a crisis manager. It seems that the election is only days away and the administration has discovered that news that the president had sex with a young girl in the oval office is about to break. The president is in China on some sort of diplomatic trip and a team has been assembled to deal with this crisis before the news breaks.
Robert De Niro tells the president’s people to delay the president in china and to tell the press that he is sick. He also tells them to begin spreading disinfo about a fictional B3 bomber to create a fog around the President’s trip to china and to get the press talking about something unrelated to the scandal before it breaks. He also tells the administration to start rumors about a crisis brewing somewhere that he has yet to work out the details on, knowing full well the press will predictably parrot any talking points they put out directly or through deception.
On the plane to LA to see a Hollywood producer to help produce a crisis that will distract the American people from the scandal in the oval office, De Niro explains they can make a fake war because the american people will believe whatever they see on TV. He talks about how nobody questioned the gulf war, they just went along with whatever they were told. Now, this is pretty stunning because this film was made before it was widely known that much of the gulf war was a farce. That this performance right here of a young woman who claimed to have witnessed Iraqi soldiers taking babies out of incubators and killing them was actually a manufactured story written by a PR firm with lines delivered by the daughter of the Kuwaiti ambassador to help lie the american people into a war. Also before the public knew of all the fake footage that CNN used during the war as war correspondents pretended to be under attack. You and I know this now, but when wag the dog was released the idea that the gulf war was the product of fiction was an extremely fringe idea. The audience watching was giggling at the idea that it was all just a play put on for the public and thinking how clever the filmmakers were this is imaginative premise when it reality, they were rubbing it in your face. The joke was on you.
De Niro then goes to LA to see a Hollywood producer played by Dustin Hoffman. In convincing Dustin Hoffman Robert De Niro demonstrates the control he has over the press office by making a call and dictating what the press secretary should say while he is live at the podium. Again, this film was made in 1997, well before any kind of mini bluetooth earpieces were available and well before any accusations that debate participants might be using some kind of earpiece device. At the time, this technology was science fiction, or at least it was for the general public.
De Niro tells Dustin Hoffman that they are going to fake a war in Albania. They chose Albania because Americans are poorly educated by government schools and most couldn’t find Alabama on a map let alone Albania so they will just think what the people on TV tell them to think.
Right away the start talking about how to market the war and how to make money on it at the same time. They bring up the yellow ribbon campaign from the gulf war and say that it was all a manufacture movement that made them a lot of money selling overpriced yellow ribbons, I’m not aware of anyone researching this but I would not by shocked if there was a kernel of truth in this line in the movie that likely generated a lot of laughter in the theater as the audience in 1997 once again giggled at how preposterous it was that something like that would or even could be faked. Nobody is laughing now.
They also decide they need a reason for the war. They know Americans don’t ask too many questions so it doesn’t have to be too elaborate, so in this movie that was made well before we were invading Iraq looking for nonexistent weapons of mass destruction, they decide to lie and claim that Albania has, weapons of mass destruction. They hate us for our freedom and they are going to destroy the “great satan” that is the United States. Sound familiar?
The newly assembled team also starts working on a song they can saturate with airways with once the manufactured war begins. Wars need theme songs that will bring the public together after all, war as they put it in the film, is show business. This also sounds familiar
The first thing the team decides they need is some footage they can leak to the press. Fake footage that will pull at the heart strings of Americans. Again, this was made in 1997, decades before the public became aware of the fake footage of the Hollywood promoted white helmets and the fake Syrian gas footage. In 1997, this was all just a joke. They show how easily Hollywood puts together fake footage of a war torn Albania, with a young village woman holding a kitten. They argue about what cat they should use, or maybe they will use a dog, its all just a joke. It’s also a joke when Robert De Niro tells the actress who is playing the Albanian woman that if she tells anyone she was involved in the production, they will kill her.
The press obediently plays the fake footage to the american people, as we now know they have done repeatedly in the past so many times we may never know the extent of their deception or the lives that were needless lost because of their lies. But that’s ok because in 1997, it was all just a joke.
After pulling off the deception we are introduced to an idea that was largely a far-fetched notion in 1997, we are introduced to the deep state. The CIA and the NSA knows there is no war in Albania and they apprehend Robert De Niro and ask them to explain themselves. Once again we get more truth disguised as humor that the audience will laugh off and never take seriously because to believe what is being discussed would destroy the mythical view they have of their country. Robert De Niro explains to the deep state representative that they need this fake war just as much as the president does. He tells them that if the american people feel safe and secure that the deep state will get budget cuts, he tells them that they have to put the scare into the american people so that they keep giving money to the deep state. But don’t worry, this is all just a joke…. …right?
The conspirators hit a bump in the road when the senator running against the president catches wind of the war being fake and goes on television and declares that the fighting has stopped and that the war is over. The election is still a few days away so they need to stretch it out longer. They decide a good way to do this is by telling the american public that a soldier was left behind and is caught behind enemy lines. They want to market this with a campaign so they choose a soldier with the name of Shuman, they then fake a song called good old shoe that the plant in the national archives, a deep state honeypot agent then plants the idea that an old song called good old shoe to a man in the press that then runs with it, and they AstroTurf a campaign throwing old shoes into trees.
The entire country is praying for Shuman to be returned home safely.
Now I want to pause for a moment and draw your attention to this shot in the movie. This is Robert De Niro, and Dustin Hoffman walking out of the gates at the white house. That means that the white house at the bare minimum read and approved the script and gave them access to the grounds to shoot this. The rest of the white house footage can easily be shot on a set somewhere in Hollywood, but this shot had to be approved by the white house. Just something to keep in mind.
So now that the country is waiting for this Shuman to be returned, they go to pick him up only to discover that through some mix up the soldier they have built the campaign around is a psychotic prisoner and a rapist. At this point the film takes a turn into the absurd. It almost seems as if the filmmakers, well aware of how much truth they have revealed, need to slap on a few more coats of satire for the sake of plausible deniability. This is also important because up until this point in the film the audience can feel comfortable knowing that while the government is being portrayed as being corrupt to the point of being morally bankrupt, nobody has been physically hurt yet as a result. That’s all about to change and while many humans have trouble looking down the road at the horrors and mass casualties that corruption can lead to, its not nearly as apparent as the danger of immediate physical injury and death. Even the lowest of IQ viewer will understand that death and murder is bad so in order for the filmmakers to proceed with their story they are forced to ratchet of the absurdity of the film so that is disconnects people further from reality. They are intentionally lowering the audience’s suspension of disbelief because they don’t want to audience to really believe what they are seeing, because just like everything else in the movie, it’s all just a joke.
Shuman is taking anti psychotics and is clearly in no condition to be presented to the american people as a hero. He has a fit and that mixed with bad weather causes them to get into a plane crash. All the important people survive without a scratch.That’s the ridiculous part. The truth here is that the pilots have died and the group doesn’t care at all, it’s not even mentioned. All that matters to them is pulling off the deception no matter what the human cost. This is further hammered in when they hitch a ride to a payphone and Shuman decides to rape a farmer’s daughter. The farmer kills Shuman and the important people feel nothing for the girl that was raped or for the soldier that was a pawn in their game, it’s all about how these events have affected the deception.
They decide that this is actually a good thing, given the condition of Shuman and they put on a big show with his casket being returned home complete with a dog they have trained to follow the casket. The deception has finally been played out to its conclusion and the president it sure to win reelection now as the sheep in america just eat up the propaganda they are being spoon fed, there bellies are full and are they ever entertained.
At this climax the Dustin Hoffman, the Hollywood producer that helped with the deception decides he wants to take credit for the work and this is where we learn that even his live is expendable when it comes to maintaining the deception. The deception must be protected at all costs because that is all that separates the ruling class from the slave class. They are smarter. They are the tail that wags the dog, and because knowledge is power it must be kept from the public at all costs. So we see here both a warning to other story tellers in the ruling class that if you fail to go along with the deception that no matter how instrumental you might think you are to the plan you are expendable, but also a submission stance by the producer and director of this film who likely sees himself in this character. He is acknowledging that despite the role he may have played in revealing all of these obscured truths, he knows how to protect the deception and knows what will happen if he fails.
So is this the ruling class telegraphing to the public what they intended to do and what they have been doing for generations, or just a crazy coincidence? It’s hard to watch this film and not think that it’s not at least somewhat possible that this was the ruling class giving the public a peek behind the curtain. Even Saddam Hussein’s information minister mentioned the film “Wag the Dog” by name during the during the Iraq invasion. Either way there is one thing for sure. The truths in this film can no longer be experienced as silly punchlines. They hit to close to the mark an illicit an entirely different emotion. An emotion 180 out of phase with the emotion that audiences in 1997 experienced. That emotion, is rage.