Politics is played on two stages, from in front of the curtain and behind it. Good media outlets situate themselves somewhere in between the two realities, but they are adept at falling into one or the other. Too far to the left of curtain and the cameras stop filming to televise, projecting to the audience what the directors want them to see; too far to the right and all at once reality is falsified by human politic.
Wherever Alex Jones sits on that spectrum to you, he has successfully awoken millions of people from a slumber induced by complacence and ignorance to that duality. He claims that he has been so over the target about what the corrupt elites have been up to that he has become a target himself. At the same time, by being so enmeshed in that world everything appears to be a closely knitted illusion—a heavy toll that has visibly weighed on his shoulders after all these years of documenting the “burning house” that is our nation.
“Everything is a war,” says Jones. “That’s the way the universe works. There are competing forces that are trying to dominate and everything is propaganda. The general public doesn’t realize they’re under attack by information and so I want people to become aware of propaganda and how it operates in the info war.”
The documentary poses some neutral questions that the viewer is asked to consider: do you think that the government is corrupt? Are there elites in power that are working against your interests? Many might respond with a resounding “yes.”
The questions themselves are uncontroversial. As Alex Lee Moyer takes us through the life of Alex Jones in her 2022 documentary “Alex’s War,” we come to see how Jones went from a nut that no one in the mainstream took seriously to America’s most cancelled public figure—a figure that many Americans today view as a hero. Only those who pose a threat to the establishment media are subject to being “cancelled,” particularly in the digital world by what the InfoWars team calls “technocrats.”
Yet, the last thing that Jones wants to be is a martyr for a political cause. For as outspoken as we see him, his humbleness disallows him to think of himself as anything more than someone piecing together the information masqueraded by those who wish to feed us only their manipulated versions.
The documentary cycles back and forth between the life of Jones, who he was as a kid and how he got started, to the events leading up to and concluding with January 6th, with the intention of exonerating him from the claim that he “incited an insurrection,” literally threatening democracy.
But Jones’s side of the story that runs counter to the mainstream narrative found in dozens of articles and negative coverage against him isn’t going to change anyone who has already made up their mind about him or his politics. At best, it does document the story often forgotten in the noise of mainstream politics which is not so far off from what Jones has always tried to do.
“Truth is stranger than fiction,” Jones would say, and we get glimpses into his world of “conspiracy,” including clandestine footage of Jones infiltrating the eerie Bohemian Grove which would be showcased in the documentary Dark Secrets Inside Bohemian Grove (2000).
In another scene, we see Jones urinating on the Georgia Guidestones, known as the “American Stonehenge.” The guidestones, commissioned in June 1979 and translated into eight languages, were the subject of recent scrutiny when it was mysteriously blown up early July. Chiseled into the stone are Malthusian-esque commandments on maintaining the population, guiding reproduction, and leaving nature room to grow.
“The land was purchased under a trust name of R.C. Christian,” Jones said into the camera. “But locals report that it was Ted Turner, the founder of CNN, and others that came here in the late 1970s to plan the construction of the obelisks.”
Is it truly hard to believe that there are malevolent actors in the world who wish to crush the common man under his boot? For Americans who have become sympathetic to the cause of the Black Lives Matter movement and Antifa, it would be difficult to argue otherwise. But not even Alex Jones could hide behind the excuse that he is “just asking questions.” An honest journalist, let alone a radio personality, is expected to admit when he is wrong, something Jones appeared willing to do.
Even suggesting that the Sandy Hook shooting was a false flag was enough ammunition to invalidate his years of work for those who see Jones as a threat, along with his 9/11 conspiracies and his alleged role in the January 6th riot. The right will ultimately be forgiving here, while the left will have more fodder to graze; so the documentary does not serve to illuminate anymore any other political film do, like Dinesh D’Souza’s 2000 Mules, that only strengthened the divided political camps.
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