The InfoWar: A Life of Information


A life in the InfoWar

In the documentary Alex’s War ,, viewers will follow Alex Jones’s journey from his troubled childhood in Dallas to his triumph on public-access television to his current infamy.

Alex Jones addresses a crowd of pro-Trump protesters on January 6, 2021 in Washington, D.C. (Jon Cherry/Getty Images)

Alex Jones is a man who has made it a career of discrediting conspiratorial and paranoid claims. He is a very similar journalist to America. He made false allegations about Sandy Hook, causing real pain. So did the New York Times‘s reports about WMD. He has drawn false connections between his enemies, just as reputable men did between Osama bin Laden and Saddam Hussein. Although he has told many lies about Hillary Clinton and not as much about Donald Trump, mainstream journalists are more likely to believe him.

If Alex Jones had promoted Russiagate rather than a downscale conspiracy, he might have received a Pulitzer Prize. If he had relayed untruths on behalf of the elite rather than saying things true and false at its expense, he might be editing the Atlantic. If he had pretended to seriousness rather than clowning, he might even now be spreading paranoia on MSNBC. He is now banned from all platforms and widely despised. People have condemned him.

Alex’s War , a documentary made by Alex Lee Moyer shows that Alex Jones is not without fault. It also shows that Jones is not alone guilty. Moyer’s previous film, TFW No GF, took an unprejudiced look at the disaffected young men sometimes called incels. Alex Jones’ story is told by Moyer with the same ironic, sympathetic eye. She follows Jones’s life from Dallas, where he was a turbulent young man to his triumph on public TV.

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It is an American story. He is often referred to as an advocate of “fascism”, or any other foreign idea, but he actually reflects the American mistrust of elites. It is a deeper instinct than what libertarian ideologues have described as superficial. This sentiment is rooted in the same emotions that shaped American religious populism, from the Second Great Awakening through the Azusa Street Revolutionival. This combination combines an exuberant, crowd pleasing expression with a deep contempt for clergy.

Growing up near television preachers in Dallas, Jones became fascinated at their hypocrisies. He tells Moyer that they lived in large houses on the lake. “You’d see them on the back porch drinking tequila and snorting cocaine off prostitutes’ breasts.” During a panel at the film’s launch in Austin, Glenn Greenwald suggested that Jones resembled those high and holy rollers. Jones said, “I am a preacher.” “I am the insane preacher .”

Another important influence was Gary Allen’s None Dare Call It Conspiracy, published in 1971. Allen was a member of the John Birch Society. He argued that politics and finance were controlled by an influential group of “insiders” whose secrets had broad-ranging consequences. It is possible to bet that it was planned. Aside from his influence on Jones, Allen is notably the father of Michael Allen, longtime author of Politico‘s “Playbook” newsletter and co-founder of Axios. Like his father’s, Allen’s work assumes and exploits political insiders. It also seeks, in the words of the New York Times, to be “first with a morsel of information, whether or not the morsel proves relevant, or even correct, in the long run.”

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This biographical curiosity only underlines the family resemblance of “disinformation” and “reporting.”

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Very few artists will risk appearing sympathetic to the figures that our establishment is determined to eradicate. This is why this film is so special. Moyer’s documentary is not a hagiography. She refused to be condemned and instead created an intelligent film with great subtlety. This same style is evident in the music, which strangely combines Wagner (a remix of Hillary’s cluckling about the death Muammar Gadafi) and Ariel Pink.

Moyer starts her film by showing footage of pro-Trump demonstrators gathering in Washington, D.C., but returns frequently to Jones’ role in the promotion of the electoral protests in Jan. 6. The film highlights Jones’ role in promoting the electoral protests on Jan. 6. Jones can be heard loudly calling for peace and asking that people comply with authorities. Jones is perhaps to blame for leading people to the threshold, and then telling them to stay there. He clearly understood how disorder would lead to harsh punishments.

After years of portraying the system as evil and all-powerful for many years, Jones discovered that sometimes it’s weaker than its appearance. Jones expressed surprise at the lack of sufficient police to keep order after Jan. 6. I expected the system to be in place, but it was .”


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