“In acting, sincerity is everything. If you can fake that, you’ve got it made.” (George Burns)
Reality is a psychological operation.
Socio-political reality basically means some group has force, money, and access to fawning media. They can define what exists.
A psyop depends on being able to engineer one story line.
A psyop depends on selling one centralized story.
If, magically, overnight, you found yourself in possession of overwhelming force and a direct pipeline to elite media anchors, you could tell your story about what exists, and you would find millions of people believing you.
What would happen if the three major networks, each with considerable power, had come up with three vastly different versions of the Boston massacre?
CBS: “FBI and local police killed one terrorist and captured the other in what observers are calling one of the bravest days in the history of law enforcement in America.”
NBC: “After a violent gun battle on the streets of a great American city, during which a suspect in the Boston massacre was killed, an FBI source stunningly revealed the Bureau had shifted the blame on to their own cooperating informants. The source put it this way: ‘The Tsarnaev brothers were recruited by a secret Bureau unit to plant the bombs. The plan was to blame the bombing on so-called patriots, but that fell through, so the Bureau exercised their only option. They put their own informants front and center and called them terrorists…’”
ABC: “Today, the tragic loss of life and wounding of more than 180 persons at the Boston Marathon were partially redeemed, when, amazingly, Boston police traced three pipe bombs to a CIA storage locker in Maryland…”
Suppose, in the midst of an uproar heard and echoed around the world, the networks stood by their contradictory versions of events and wouldn’t back down?
A massive blow would hit psyop-land. Centralized story? Poleaxed.
People wouldn’t know what to do. They expect one story line and they get three, from the highest hypnotic and influential media giants.
In a literal, though unconscious, sense, familiar time and space begin to fall apart.
But actually, it’s far more surreal for the three major television networks to agree on the substance of every significant event than to come to radically different conclusions.
Unfortunately, people don’t see it that way. They don’t see that three behemoths dispensing the same information are key elements in thought-police fascism. They don’t see that the consensus is arranged.
“Bargain price! We’ll shave down your perceptual field so you can fit in with eight billion androids. You’ll never miss what you can’t see. On a scale from 0 to 10, your creative impulse will be coming in at about .06. That’ll cement you right into the limited spectrum, where all the action is. Yes, folks, there really is a sense of family in this reality. People liking people. We’re all in this together. Remember, life is better when you see what we want you to see! It takes the pressure off. Do you really care about what you think? Don’t you want to be fixed, so you can think what everybody else thinks? Now that’s a real program. Once we lock you in and reshuffle your electromagnetic fields, you’ll emerge with our new Sameness system. You’ll see what your friends see with just a bit of difference, to make it interesting…”
In a country in which art has little or no perceived value, there’s a sucker born every millisecond. Why? Because when consciousness of art is nil, people accept official art, which is always present, as the guiding and only reality. And of course, they don’t see it as art.
“Things can’t be any other way. This is it.”
Nowhere is this truer than in television news.
It’s not only the content of news that is embraced, it’s the style, the manner of presentation—and in the long run, the presentation is far more corrosive, far more deadly than the content.
The imitations of life called anchors are the arbiters of style. How they speak, how they look, how they themselves experience emotion—all this is planted deep in the brains of the viewers.
Most of America can’t imagine the evening news could look and sound any other way.
That’s how solid the long-term brainwashing is.
The elite anchors, from John Daly, in the early days of television, all the way to Brian Williams and Scott Pelley, have set the tone. They define the genre.
The elite anchor is not a person filled with passion or curiosity. Therefore, the audience doesn’t have to be passionate or filled with curiosity, either.
The anchor is not a demanding voice on the air; therefore, the audience doesn’t have to be demanding.
The anchor isn’t hell-bent on uncovering the truth. For this he substitutes a false dignity. Therefore, the audience can surrender its need to wrestle with the truth and replace that with a false dignity of its own.
The anchor takes propriety to an extreme: it’s unmannerly to look below the surface of things. Therefore, the audience adopts those manners.
The anchor inserts an actor’s style into what should instead be a relentless reporter’s forward motion. Therefore, the audience can remain content in its own related role: watching the actor.
The anchor taps into, and mimics, that part of the audience’s psyche that wants smooth delivery of superficial cause and effect.
Night after night, the anchor, working from a long tradition, confirms that he is delivering the news as it should be delivered, in both style and substance. The audience bows before the tradition and before him.
From their perch, the elite television anchors can deign to allow a trickle of sympathy here, a slice of compassion there.
But they let the audience know that objectivity is their central mission. “We have to get the story right. You can rely on us for that.”
This is the great PR arch of national network news. “These facts are what’s really happening and we’re giving them to you.” The networks spend untold millions to convey that false assurance.
The elite anchor must pretend to believe the narrow parameters and boundaries of a story are all there is. There is no deeper meaning. There is no abyss waiting to swallow whole a major story and reveal it as a hoax. No. Never.
With this conviction in tow, the anchor can fiddle and diddle with details.
The network anchor is the wizard of Is. He keeps explaining what is. “Here’s something that is, and then over here we have something else that is, and now, just in, a new thing that is.” He lays down miles of “is-concrete” to pave over deeper, uncomfortable, unimaginable truth.
The anchor is quite satisfied to obtain all his information from “reputable sources.” This mainly means government and corporate spokespeople. Not a problem.
Every other source, for the anchor, is murky and unreliable. He doesn’t have to worry his pretty little head about whether his sources are, indeed, trustworthy. He calculates it this way: if government and corporations are releasing information, that means there is news to report.
What the FBI director has to say is news whether it’s true or false, because the director said it. So why not blur over the mile-wide distinction between “he spoke the truth” and “he spoke”?
On air, the anchor is neutral, a castratus, a eunuch.
This is a time-honored ancient tradition. The eunuch, by his diminished condition, has the trust of the ruler. He guards the emperor’s inner sanctum. He acts as a buffer between his master and the people. He applies the royal seal to official documents.
Essentially, the anchor is saying, “See, I’m ascetic in the service of truth. Why would I hamstring myself this way unless my mission is sincere objectivity?” And the public buys it.
All expressed shades of emotion occur and are managed within that persona of the dependable court eunuch. The anchor who can move the closest to the line of being human without actually arriving there is the champion. These days, it’s Brian Williams.
The vibrating string between eunuch and human is the frequency that makes an anchor great. Think Cronkite, Chet Huntley, Edward R Murrow. Huntley was a just a touch too masculine, so they teamed him up with David Brinkley, a medium-boiled egg. Brinkley supplied twinkles of comic relief.
The public expects to hear that vibrating string. It’s been conditioned by many hard nights at the tube, watching the news. When Diane Sawyer goes too far and begins dribbling (alcohol? tranqs?) on her collar, that’s soap opera, and the audience loves soap opera, too.
The cable news networks don’t really have anyone who qualifies as an elite anchor. Wolf Blitzer of CNN made his bones during the first Iraq war only because his name fit the bombing action so well. Brit Hume of FOX has more anchor authority than anyone now working in network television, but he’s semi-retired, content to play the role of contributor, because he knows the news is a scam on wheels.
There are other reasons for “voice-neutrality” of the anchor. Neutrality conveys a sense of science. “We did the experiment in the lab and this is how it turned out.”
Neutrality gives assurance that everything is under control. And neutrality implies: the nation is so powerful we don’t need to trumpet our facts; we don’t need to become excited; our strength is that secure.
Neutrality implies: this is a democracy; an anchor is no more important than the next person (and yet he is—another contradiction, swallowed).
Neutrality implies: we, the news division, don’t have to make money (a lie); we’re not like the cop shows; we’re on a higher plane; we’re performing a public service; we’re like a responsible charity.
The anchor is the answer to the age-old question about the people. Do the people really want to suck in superficial cause and effect and surface detail, or do they want deeper truth? Do the people want comfortable gigantic lies, or do they want to look behind the curtain?
The anchor, of course, goes for surface only.
The anchor is so accustomed to lying and so accustomed to pretending the lies are true that he wouldn’t know how to shift gears.
“Well, folks, our top story tonight…it turns out that IG Farben, a famous chemical and pharmaceutical octopus that put Hitler over the top in Germany, was instrumental in planning what became the EU, the European Union. In other words, today’s United Europe is World War Two by other means.”
I don’t think Williams, Pelley, or Sawyer could deliver that line without going into a terminal paroxysm.
At the end of the Roman Empire, when the whole structure was coming apart, a brilliant and devious decision was made at the top. The Empire would proceed according to a completely different plan. Instead of continuing to stretch its resources to the breaking point with military conquests, it would attack the mind.
It would establish the Roman Church and write new spiritual law. These laws and an overriding cosmology would be dispensed, in land after land, by official “eunuchs.” Men who, distanced from the usual human appetites, would automatically gain the trust of the people.
These priests would “deliver the news.” They would be the elite anchors, who would translate God’s orders and revelations to the public.
By edict, no one would be able to communicate with God, except through these “trusted ones.” Therefore, in a sense, the priest was actually higher on the ladder of power than God Himself.
In fact, it would fall to the new Church to reinterpret all of history, writing it as a series of symbolic clues that revealed and confirmed Church doctrine (story line).
Today, people are believers because the popular stories are delivered by contemporary castrati, every night on the evening news.
If these castrati say a virus is threatening the world, and if they are backed up by neutral castrati bishops, the medical scientists, and if those medical scientists are supported by public health bureaucrats, the cardinals, and if the cardinals are given a wink and a nod by the President, the Pope, and if the Pope has just issued a missive warning that anyone with a lung infection can be isolated and quarantined, the Program is working.
Reality is a psyop.
The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails atwww.nomorefakenews.com
One thought on “The elite television anchor: center of the psyop”
“The anchor inserts an actor’s style into what should instead be a relentless reporter’s forward motion. Therefore, the audience can remain content in its own related role: watching the actor.”
Most of them can’t ‘act’ well enough to even be in the movies.