(May 9, 2013) For decades, pretentious wonks have declared that we live in “The Information Age,” as if information were a commodity unique to our time. Inanity aside, the claim is patently false, notwithstanding the advent of computers and virtually instant communication. We do not live in an “Information Age” because “information” connotes data that is beneficial and objectively valid. Information can help solve problems, educate, and generally improve life. This was true of written language, movable type, the radio and the telephone, but look around today—do you see problems being solved, people becoming smarter, or life getting better? I thought not.
If these dystopian qualities were the basis for a movie or TV show, we could take comfort in the knowledge that justice would eventually prevail. We’d be able to cheer for a rebellious anti-hero like John Connor (Terminator series), Det. Del Spooner (I, Robot), or Insp. Harry Callaghan (Dirty Harry series) to bring down the system. We would see detectives or scientists analyzing evidence (Columbo, CSI: Crime Scene Investigation, Bones) instead of destroying or ignoring it. We might be treated to the sight of the police treating a suspect humanely and reading him his rights (Kojak, Hill Street Blues, Dragnet. We might even see a dogged investigator exposing a cover up or government corruption (All The President’s Men, Erin Brockovich), instead of scheming to keep it hidden from the public. This world of scripted entertainment, unreal though it may be, is able to depict healthy relationships between authorities and the truth, and between authorities and citizens. Such shows do not depict an idealized future; they give us fading afterimages of our society before the Military-Israel Complex and neo-conservative sociopaths gave us the “War on Terrorism” and declared justice obsolete. Here’s how the Boston Marathon bombing was scripted to serve the expanding surveillance state and stoke the “War on Terrorism.” • Stage a lethal attack against a civilian U.S. target; Like the 2001World Trade Centre Attack, which followed the same basic script although on a much larger scale, the Boston Marathon bombing story has come completely unravelled. Every couple of days it seems that some other detail comes out that demands to be investigated: • No credible motive was ever given for Tamerlan and Dzhokhar Tsarnaev to have made the bombs. This last omission, combined with the FBI’s immediate refusal to consider other suspects, clearly suggests a false-flag scenario. The following table identifies this kill squad.
If this were part of a movie script, I guarantee there’d be a crusading detective or journalist examining the evidence, interviewing people like Tremblay honestly, and asking intelligent questions like: What was Craft International doing at the Marathon?
The film, centres around the culture of violence and corruption that pervades the L.A. Police Department in the 1950s. The catalyzing event is a multiple murder that takes place late one night in a seedy diner. A car belonging to “three negroes” was seen in the area at the time, and so the precinct captain makes them the sole focus of police inquiries. Under interrogation, a career-minded but idealistic lieutenant realizes the story doesn’t wash, and starts looking for answers. He finds unlikely support from a thuggish officer and a sergeant who works on a TV show. If you’re wondering what an honest investigation into the Boston Marathon bombing might have looked like, here are a few scenes for your entertainment. Shows like this accurately reflect our police-state but they can inure us to disinformation. This kind of entertainment has to be seen not as a comforting, nostalgic escape, but the basis for a new reality script since the one we have is transparently indefensible. 
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