Well, it worked with the false Trayvon Martin and Mike Brown narratives, so why not try it again? I was about to devote a segment here to the hysterical “Border Patrol whipping poor migrants” tale neing manufactured by the administration and the media, but it warrants a full post. I’ll just note the smoking gun huminahumina response from DHS Secretary Mayorkas last week when Peter Doocy of Fox News—gee, why don’t the reporters from other outlets ask administration officials tough questions?—asked him why President Joe Biden accused Border Patrol agents of “strapping migrants.” Doocy asked, “You said on Saturday — or rather, on the 20th, ‘To ensure control of the horse, long reins are used.’ The person who took these photos of the Border Patrol agents says, ‘I’ve never seen them whip anyone.’ So, why is the President out there today talking about people being ‘strapped?'” Hmmm. Because Biden has always been a shameless hack? Because nobody tells him what’s going on? Because creating sympathy for illegals while villifying law enforcement officials for doing their jobs is central to the Left’s open borders agenda? Mayorkas babbled,”So let me, um, uh, let me correct, um, uh, the statements in your question, if I may…” When Doocy (you know, for someone who only has his job because of outrageous nepotism, he has been performing admirably) countered, “They’re direct quotes,” the Secretary of Homeland Security said, “It was on Friday when I was, uh — actually, it was on Monday, I believe, uh, when I was in Del Rio, uh, on the ground, uh, and I made the statements without having seen the images. I saw the images on the flight back, and I made the statement that I did with respect to what those images suggested.The horses have long reins, and, uh, the image in the photograph that we all saw that horrified the nation, raised serious questions about what it— about what occurred and of — as I stated quite clearly — it conjured up images of what has occurred in the past.”

That’s as close to an admission of deliberate obfuscation for political ends as you’re likely to see. What should matter is what was really happening, not what images were conjured up by confirmation bias and or what photos “suggested.”

1. The Great Stupid comes for “Lonesome Dove.” As a lifetime Western movies aficionado, I have concluded that the TV mini-series of Larry McMurtry’s “Lonesome Dove” is the greatest Western ever made. Watching it again yesterday to cheer me up after I woke up with Churchill’s “Black Dog” on my head, I was nauseated to find that the streaming version now carries a warning about “Culturally insensitive portrayals.” After all, the story about cowboys moving a herd to Montana told from their perspective included some dangerous and violent Indians. Of course, for every mean Native American there were about ten cruel and ruthless whites, but somehow I don’t think the trigger warning was referring to them.

2. Speaking of the “Zimmerman murdered innocent teen Trayvon Martin” lie…New York Times drama critic Salamishah Margaret Tillet , the Henry Rutgers Professor of African American Studies and Creative Writing who is essentially an activist uninterested in fair or objective analysis, meaning that her reviews are propaganda, wrote about the re-opened Broadway play “Pass Over” by writing of the playwright,

“Nwandu originally wrote “Pass Over” in response to the killing of Trayvon Martin, seeking to channel the grief and rage that so many African Americans were grappling with. Its latest iteration, she has said, is speaking to the widespread racial justice protests of the summer of 2020. As a result, “Pass Over” is one of the few works of art that really charts Black Lives Matter as a movement responding to the racial justice needs of its day.”

But if the play, which involves a white cop called “master” threatening and menacing them was a response to Martin’s death, it was a response based on media lies and deliberately divisive warping of facts to vilify whites and police. That rage and grief was manufactured for political ends, and the investigation and the trial exploring Martin’s death had to be deliberately ignored for Tillet to write such a paragraph and for the Times to publish it.

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