Alex Gibney sets his sights on bringing down Elon Musk
Alex Gibney seems to be fond of rushing to comply with oligarchy-friendly deadlines. He is reported to be feverishly attempting to get a major smear on Elon Musk released before the November election. Musk is the last bastion of free speech and press in America and believes President Trump is particularly motivated to restore those rights. Musk’s support might be Trump’s strongest chance of success. Thus, the oligarchy has clear motivation for taking Musk out of the running. Gibney has a history of delivering October surprises against Trump in particular; populists being anathema to continued oligarchy rule. If Gibney doesn’t make the deadline you can count on him leading the First-Amendment-burning pack post election.
In October 2020 Gibney rushed out his hit piece on Trump’s handling of the COVID-19 Pandemic. After it helped serve the oligarchy’s purpose of defeating Trump, virtually all of its major premises were proven utterly false (see Whistleblower Character Assassin). Gibney as much as admitted his motivations in a “progressive” love fest with MSNBC’s Chris Hayes: “It [Trump Pandemic hit] was intended to come out just before the election of 2020 as a referendum on Trump’s handling of the COVID crisis.”
Gibney’s documentary series Enemies: The President, Justice and the FBI came out (November 2018) a few months before Special Prosecutor Muller’s report on the Russia Hoax (April 2019). In context, Gibney’s work looks like a patent attempt to influence the outcome of the investigation. It is a four-episode series. Gibney had some lackies at his production company direct the first three episodes. Those segments view like an FBI recruitment film. They are thoroughly left-leaning propaganda pieces exalting the FBI as a democracy-saving institution time and again. Gibney has his boys position the FBI as superior to the office to which its charter makes it serve at the pleasure of: the Presidency. It is pure autocratic propaganda (in the East German and Soviet traditions) in that it elevates the bureaucracy (read politburo) over the will of the people. Even elected Presidents must bow at the altar of the unelected deep state. Gibney gives a new meaning to shallow in using the Watergate and Iran-Contra scandals to serve as narratives for his conclusion: FBI career men equal good, elected Republican Presidents equal evil. All the while he continually – almost by subliminal deception – associates Trump to the alleged sins of Nixon and Reagan (as if they are the same corrupt being occupying three separate bodies). By this technique Gibney murders history, turning scoundrels into saints and turning populists into satans.
Once this us vs. them, cowboys vs. indians simplistic look at history is established, Gibney takes over the reins to personally direct the final segment: a no-holds-barred WWE-like attempted take down of President Trump.
Gibney ham-fistedly pounds on his designated enemy while genuflecting at the feet of his deep state benefactors. Perhaps even worse than former communist bloc propaganda, within months of its release the events it reports as inevitable turns of history prove to be 180 degree opposite to reality (some of the commie prop took decades to discredit). Eventually, virtually every major thesis of Gibney’s propaganda is found to be erroneous in one definitive, authoritative report (see REPORT ON MATTERS RELATED TO INTELLIGENCE ACTIVITIES AND INVESTIGATIONS ARISING OUT OF THE 2016 PRESIDENTIAL CAMPAIGNS). This 100% discreditation of the foundation of the documentary is precisely what occurred with Gibney’s COVID-19 character assassination attempt, see Big Brother Storyteller II.
Enemies liberally uses a now well-worn propaganda technique that Gibney apparently stole from a couple of rookie filmmakers when going after Scientology. See Gibney Propaganda Technique). That is, Gibney’s cast consists of media people who narrate and comment, merrily mixing opinion and spin with ‘fact.’ Gibney compensates for the lack of evidence to support the official narrative by having his media hacks characterize the “evidence” he does submit. One recurring talking head is Garrett Graff known for many gigs as the smooth talking ‘expert’ on cheesy cable channel documentaries. Media analyst Howard Kurtz exposed how Graff wound up with that role, “Garrett Graff spent enough time as a campaign flack to learn the art of the politically adept reply.” That was precisely the skill Gibney called on, having Graff backfill evidentiary holes with slippery characterizations.
The amateur-hour like opening frames are instructive of Gibney’s motives and methods:
Faceless, unattributed voice from nowhere (whiningly and ominously):
“The idea that the President would fire an FBI Director in the middle of the Russian investigation is unthinkable!”
Garret Graff (dramatically and incredulously):
“This was the target of an investigation trying to choose the person who is investigating him.”
Gibney himself (with pearl-clutching concern):
“And what kind of constitutional problem is that to him?”
Graff (literally chuckling and guffawing like a junior high school punk giving someone a wedgie):
“A HUGE one, hardy, har, har, har!”
Let’s break that passage down.
The film’s first premise is false. It was very “thinkable” that a president would fire an FBI director who was actively leaking privileged communications to corporate media in an attempt to smear and harm the President with false charges, which is precisely what proved to be the case.
The second premise of the film was false. The President was not the target of the investigation, and he was not being investigated according to public statements then-recently made by that very FBI director who was fired.
The third premise of the film was a complete invention by Alex Gibney; there was no constitutional issue whatsoever. The FBI director serves at the pleasure of the President. End of story. But, Gibney goes on for another hour desperately trying to stick it to Trump.
And that is just the intro, before the opening credits are even through rolling across the screen.
The very first frames of the body of the film show that traitorous FBI director James Comey literally yucking it up a year later with Stephen Colbert while sipping wine on television. Gibney then spends an hour trashing Trump on the innuendo (no facts, pure smear by association and demonization) of a documented liar. The ‘victim’ of Gibney’s piece turned out to be perhaps the most infamous prima donna drama queen of the 21st Century.
Gibney follows with a virtual dog and pony show of deep state hacks and corporate media shills dramatically laying down every lie of the greatest hoax of the 21st Century; that is the big Russia Scare (see, A Guide To Understanding the Hoax of the Century). Perhaps the biggest and most important whopper of them all was the Big Lie that was repeated over and over again by Comey, a plethora of FBI lackies, and the corporate media: The Russians hacked the DNC and provided the info to the Trump campaign. That served as the foundation for the bigger lie of a broad, verified Russian infiltration campaign to control the 2016 election outcome.
Gibney went into propaganda overdrive on this one. He provided a heap of special effects cyberworld graphics to dramatize the hack, while his talking heads filled in the gaps to implant the lie visually in viewers’ minds. He presented as if this was the official hands-on work of his revered G men. Gibney then goes into a retrospective likening the matter to Watergate, but far worse because with Trump, it had the added sex appeal of a foreign-enemy actor: “The Russians Are Coming!”. So unanimous and uncritical have the state sponsored corporate media become, they continued to hammer these themes home over the next several years.
It turned out that the Federal government never even made that connection Gibney portrays it as making, despite the Department of Justice’s (including the FBI) all hands on deck attempt to smear Trump. Instead, it was the cybersecurity firm hired by the Democrat National Committee (DNC) itself, Crowdstrike. Despite several years of effort, the DNC prevented the FBI from examining the DNC servers – the only way to potentially determine the source of a hack. When Crowdstrike’s CEO Shawn Henry was finally put under oath in a non-public Congressional Oversight Committee meeting, he had to admit that they had no evidence of a Russian connection to the hack, let alone a channel leading to the Trump campaign. Despite this, Committee Chairman, representative Adam Schiff of California, kept this admission secret during his serial MSNBC and CNN appearances to infer there was in fact secret evidence before the committee linking Russia to the hack and Russia to Trump. Let that sink in for a moment. Schiff, the ranking Committee member misinformed the public continually for several years while keeping the contrary evidence, Crowdstrike CEO’s testimony, under Congressional seal.
By the time other congress members managed to unseal the Crowdstrike testimony – 2 years after Gibney’s documentary – the damage had been done. And of course, the corporate media never bothered to correct the record. Nor did Muller. Nor did Comey. Nor did the Department of Justice. Nor did the FBI. And of course, nor did Gibney; he just sat like the grinning cat who ate the canary, while he continued collecting royalty checks.
Gibney assisted deep state spooks like James Clapper, James Comey, Bob Muller, and the state-controlled corporate media to smear Trump solely on the basis of Crowdstrike’s (DNC’s) Shawn Henry’s slippery, evasive innuendo. Gibney did this by not making it clear that Comey’s FBI and Muller never inspected the DNC servers; making it appear that Comey and Muller were Johnnies on the spot saving the republic with their own elbow grease. And of course Gibney abetted the obstruction of justice by burying the incestuous relationships that enabled the fraudulent narrative to hold water. In particular, Shawn Henry’s pre-Crowdstrike gig was this: Executive Assistant to the Director of the FBI (Robert Muller). Henry was hired by DNC lawyers Perkins Coie, the same firm that hired the author of the phony ‘British Intelligence’ dossier, Chistopher Steele; which served as justification to wiretap the Trump campaign and smear him with invented lies pre and post-election. (See REPORT ON MATTERS RELATED TO INTELLIGENCE ACTIVITIES AND INVESTIGATIONS ARISING OUT OF THE 2016 PRESIDENTIAL CAMPAIGNS)
It doesn’t get any more incestuous than this. Yet, Gibney actively suppresses the real sources and their relationships for his unadulterated smear piece. He covers for the inbreeders with this type of icon worshipping: “Bob Muller was the symbol of a non-partisan individual who keeps his head down, follows the facts wherever they lead and doesn’t care about making a name for himself.”
If you doubt any of the counter evidence presented, do your mind a favor and take a few minutes to study up on the matter here, NO PROOF OF RUSSIAN HACK, and here, Durham Report.
Even though the revered Muller struck out as far as making any significant connection between the Trump campaign and Russia, let alone Russian hacking, Gibney’s blatant attempt to pressure Muller seems to have had the intended result. Muller did what Muller always does. In the face of no evidence and no indictment, he still managed to smear his target (Trump) with a plethora of subjunctive hearsay (would, could, might have, probably, etc.); a dis-barrable offense were he not the darling of the deep state and its lapdog corporate media. Once again the Scientology canary-in-the-coalmine connection arises. Muller did the very same thing to the Scientologists in the late eighties and in the 2000’s: pursued them noisily and at great taxpayer expense, only to wind up smearing them with no indictment to show for it. Award winning journalist Peter Lance wrote a series of books exposing the negligent and corrupt nature of the Department of Justice in its mishandling of the war on terror from the early nineties leading all the way up to 9/11. Lance pulls the Wizard-of-Oz curtain on Muller demonstrating the 2010s corporate media worship of him was as phony as a three-dollar bill. (see Peter Lance)
Just as he did in his hatchet job on Julian Assange and Chelsea Manning, Gibney could not resist accusing Trump of sex crimes by highlighting the never confirmed, since thoroughly debunked, DNC-purchased accusations:
“Unusual sexual activities with prostitutes in Russia…filmed by Russian intelligence for possible use as blackmail.”
Once again (see Whistleblower Character Assassin) Gibney betrays his sociopathic characteristic of “projection”; accusing others of his own intentions. His alter-ego Weiner says “Trump is the kind of guy who likes to make his own reality”, while Gibney weaves a literally created deep state narrative about Trump.
Ironically, the one minor critique mentioned by a talking head about Comey is an indictment against Gibney’s documentary itself: “There is something really horrible about having a senior law enforcement official evaluating the conduct of somebody in public whom he is not going to charge; and I have a sort of civil liberties anxiety about that.” (in reference to Comey’s 2016 press conference about not filing charges against Hillary Clinton)
News alert! That is the entire basis and subject of Gibney’s documentary against Trump. Simple and plain. But it is worse. In Clinton’s case there was a boatload of evidence warranting prosecution. Comey’s justification for not indicting was that a jury might acquit her. As covered, in Trump’s case there was zero evidence.
Ultimately, the entire foundation of the Russia Hoax and Gibney’s film was found to be without merit. In November 2019, after Muller struck out, the Department of Justice appointed a new Special Prosecutor, Robert Durham, to investigate what all the ‘Russians are Coming’ alarms were about. Durham found that not only was collusion never proven, there was not even a legal basis for beginning the Russia Hoax investigation in the first instance:
“Indeed, based on the evidence gathered in the multiple exhaustive and costly federal investigations of these matters, including the instant investigation, neither U.S. law enforcement nor the Intelligence Community appears to have possessed any actual evidence of collusion in their holdings at the commencement of the Crossfire Hurricane investigation.”
Even a short passage in the film that shows Congressman Devin Nunes rightfully challenging Comey’s hole-filled narrative, is met with a former Obama apparatchik condemning any consideration of absence of guilt (in a case investigated for many years rending zero evidence of guilt):
“If you think about the antics of Devin Nunes there is some deep, deep worries that there are people in Congress who don’t care about the law, who don’t care about the Constitution.”
In Gibney’s Orwellian deep state, a defense is categorized as a thought crime.
Over dramatic music and a slew of Nixon and Reagan shots subliminally blaming their alleged crimes on Trump, Gibney winds up the film with voice overs warning of the dissolution of the Republic if Trump is not taken out. In this macabre denouement Gibney’s alter-ego reveals his motivation and purposes. Weiner closes with “If we are going to make it (as a Republic)…we have to get through this in a way that our institutions and our rule of law are strengthened.”
And so, the Empire’s storyteller continues the attack on the will of the electorate and the Constitution with the authority of the politburo and its partisan dispensation of injustice on anyone who dares not to think in lockstep with it.
Moving On Up a Little Higher 