Dan’s War dissects Alex’s War, a documentary that sanitizes Jones’ history, ignoring his $1.5M Sandy Hook defamation fine or January 6th role—where he urged protests but failed to stop the Capitol riot. It omits key figures like Nick Fuentes and selectively edits depositions, portraying him as a persecuted truth-teller despite ties to fringe conspiracy allies (Zagami, Tucker) and repackaged theories (Agenda 2030 vs. Agenda 21). The film’s hero-worshipping framing reveals a pattern of whitewashing extremism, leaving audiences with a distorted legacy of unchecked rhetoric. [Automatically generated summary]
So, like I said, this thing is too long, and there's a lot of problems.
But in advance of this documentary coming out, Jordan, I wanted to bring this up.
There have been some people who have maybe shown a few too many of their cards in discussing this documentary.
Some of these cards have been a little difficult to interpret, but they were shown all the same.
You have Glenn Greenwald, who agreed to do an embarrassing QA event at the premiere of this film where he interviewed Alex as a promotional event for the movie.
We're going to cover that QA on our next episode, so I'll leave some of my more specific thoughts on the side for a moment.
And then you had Matt Taibbi, who posted a ridiculous post on his substack where he appeared to just want to scold people who think this documentary is bad.
I honestly don't know his full argument because apparently the full thing is behind a paywall and he can fuck right off with that.
But you get the point just from the free version.
This is one of the more particularly pathetic passages in that.
Quote, in the pre-Trump era, it was understood reporters weren't supposed to avoid ugly or scary topics.
We were supposed to dive right in and in the non-judgmental manner of doctors, figure them out.
That was the job, but somewhere along the line, it became too taboo to ask the usual why questions about the likes of Trump or 4chan surfers or the subject of Moyer's new movie, Alex's War, the infamous InfoWars host, Alex Jones.
Having watched this documentary, I can tell you that if Taibbi isn't getting paid to write that, he either hasn't seen this film or he's one of the stupidest assholes on Substack.
And that is a deep roster of stupid assholes.
We'll see through this exploration that this is not a documentary that asks why at any point.
And to the extent that it's even a concern, the why is entirely constructed by the subject of the film, Alex himself.
When you have somebody who's a huge liar and the reason he's divisive is because he's a hateful liar who lies all the time, it's kind of irresponsible to produce a documentary about them that skirts the issue almost entirely.
And if it's even addressed at all, it would just be Alex saying, I'm not a liar, which is then taken as fact.
There are no dissenting voices.
There is no other side presented at all outside of random people on the street yelling at Alex and short snippets of TV hosts making fun of him, which actually aren't included to provide any sense of balance.
They're there to inflate the image of Alex's noble persecution.
This documentary sucks.
I will say that right off the top here, and I make no bones about it.
I'm not trying to pretend to be a Taibbian neutral observer.
Here's what we need to do: we need to bottle you up for another few.
Like before our next episode, we need to make it impossible for you to record anything so that all of your fury and passion and rage goes into writing about Matt Taibbi's bullshit.
But this, Alex Jones, is a subject that I know and understand intimately.
And seeing it covered like this and witnessing these supposed free thinkers like Taibbi and Glenn Greenwald congratulate themselves for having the courage to support this film is disgusting.
Seeing them scold people for not engaging with what is pure and simple and exercise in whitewashing and rehabilitating the image of Alex strategically released at the time of his Sandy Hook trials beginning is an inexcusable act of either malice or intense delusion.
I can accept that it's possible that they think this film presents a fair and nuanced picture of Alex.
And then maybe they aren't acting out of a place of severely ill will.
But I have to say if that's the case, then they're guilty of the very thing they're scolding everybody else about, not engaging with difficult subjects.
The only way to think that this documentary can be experienced as just showing Alex as he is would be if you have done zero investigation on him and simply accept the framing that's put in front of you unquestioningly.
Having spent more than my fair share of time researching the topic, I can say with absolute confidence that Greenwald and Taibbi and anybody else who's not a full-on info warrior or right-wing zealot who says that this documentary shows a complicated and fair picture of Alex, they're a coward who's afraid to look at Alex as he actually is, or they've been tricked.
Fuck these people who are trying to rehabilitate Alex's image and make fawning portraits of him more mainstream, using whatever credibility they have in some perverted exercise of like, oh, you guys just can't handle dealing with this person who you're afraid of or is he's saying things that are dangerous to your worldview.
Let it be known that this will go down as one of the most righteously furious weeks of any human beings in the history of the world between you, me, Mark, etc.
This shit is f.
How are we in this room?
Did you hear that the fire department was called earlier today?
Hello, I'm Alex Jones, and I'm a radio and television host based in Austin, Texas.
And for many years, I've been exposing the criminal activities of the global elite, also known as the New World Order.
My research has covered such topics as the militarization of police, the attack on America's national sovereignty, the destruction of private property rights, the family.
All of these institutions must be destroyed before the establishment can create their ultimate dream, a one-world government.
So this documentary begins with the clip that was originally the intro for Alex's film, Dark Secrets Inside Bohemian Grove.
It's kind of fitting because although Alex probably shot to prominence mostly through his 9-11 conspiracy activity, one of his earliest publicity stunts that he pulled was the whole charade of Bohemian Grove.
And what is this documentary Alex's war but another publicity stunt?
There's a thematic resonance that may not have been intended that is made by putting this clip at the start of this documentary.
It links Alex's bullshit from his early career to the bullshit he's in the middle of trying to pass off and sell you as you watch this documentary.
In the same way that he intentionally lied about the circumstances of his trip to the Grove in order to manufacture a false reality that affirmed his worldview, this documentary is literally nothing other than Alex Lee Moyer allowing Alex to use her to do that again.
Present a wholly dishonest portrait that creates a false reality wherein Alex's idiotic worldview is affirmed and shown to have been right all along.
Based on literally everything in this documentary, I can very confidently say that this is not what Moyer was going for.
But it's interesting if you want to overanalyze it like a lit major.
Yeah, no, I can definitely see the what would you call it? Like the incidental irony of the circumstance wherein, you know, if you were making one movie, you could play this clip.
But if you were making a movie about that movie, you would play that clip and then play like a cut over it where it's like, boo, wrong, you know, like that kind of thing.
Yeah, so the doc begins with a bunch of shots of Owen dramatically yelling into a bullhorn while surrounded by a ton of security, many of whom are the same folks that we've been seeing in the courtroom.
Interspersed are shots of people yelling at the Trump fans, more or less meant to signify the threat of Antifa, I guess to justify the ridiculous amount of bodyguards every Infowars person has when they're in public.
Also, this is where the film introduces its framing device.
The film begins with footage from DC from the Stop the Steel protests that happened in November 2020, which you may recall as the end point of Owen's stupid caravan.
This is presented as 72 days until the election, which will be how all of this is understood.
The documentary is, I'm sorry, not 72 days until the election, the inauguration.
This documentary is a countdown to the point when Biden is set to be sworn in with the flashbacks to points of Alex's career thrown in in order to, I guess, pad the runtime or something.
Before we get any further, it goes without saying that there are huge chunks of Alex's career that are completely ignored by this film.
For instance, there's no mention of his highly disgraceful Boston bombing coverage.
There's nothing about Jade Helm.
There's nothing about Y2K.
These things and countless others aren't included because if they were mentioned, it would detract from the illusion that this film is trying to construct.
Times that Alex was wrong, like about Sandy Hook, are meant to be seen as the rare occasions when he's meant well but got something wrong.
Looking at the broader picture of Alex's career would too easily reveal a different pattern, which really doesn't serve Moyer or this documentary's purpose.
Through this, you see lies that Alex is presenting, and they are being delivered by Moyer with literally no pushback and no other perspective being presented at all.
At other points, there are instances of full-on deceitful framing that is entirely the product of how Moyer decided to edit this film.
They are intentional choices that could have been made by the director or could not have as they were making the film.
It was up to them.
I'm going to do my best to be sure to delineate the differences between these types of deception because it's important to recognize how this product is actually a lie that Moyer and Alex are collaborating on creating, whether or not there's actually complete discussions.
He's a narcissistic liar, so what would you expect him to do other than to lie to create a heroic mythology about himself?
Moyer, on the other hand, is pretending to be a documentarian, and almost everything in this film is a lie that she's telling through framing or a lie that she's letting Alex tell and choosing to present without any question or any suggestion even of any doubt.
She is, in essence, responsible for all of the dishonesty in this documentary, either through intentional choices or negligent filmmaking.
And I think that will be borne out through the process of our conversation here today.
What Owen doesn't want is a country where his access to luxury and leisure commodities is in any way restricted.
He has essentially translated that into being what communism is.
So when there's a temporary shutdown of some businesses because there's an active pandemic that's killing thousands of people a day, Owen's only way of experiencing that is to say, bats communism.
He can't go to the water park, so America has fallen to Mao or something.
So it's important to understand that a lot of the understanding that Alex and the Inforce ideology has of concepts like communism or freedom are painfully superficial, and they often revolve around appearances.
For instance, Alex constantly talks about the police state being like police in black ski masks, which is an aesthetic characteristic.
He doesn't, you know, talk as frequently about what behaviors would be associated with a police state, like police determining law and acting with impunity to meet out justice, because that would be way too complicated.
And when it actually does happen, he's generally in favor of it.
But I do think it's sad that the violent left gets to come to D.C. and riot and loot and burn and destroy.
Destroy monuments, destroy parks and churches.
And then when we come to town, a group of people who have never burned, never looted, never rioted, never done any criminal activity, they shut down the whole city.
Yeah, I mean, he's talking about the left destroying churches.
And right around this point, I believe, is when his buddy Enrique Tario is stealing a Black Lives Matter banner from a church and burning it and getting arrested.
So it should be mentioned here that about a thousand Proud Boys are pictured in this documentary with InfoWars personalities.
It's wall to wall.
In the first 10 minutes alone, Owen is seen with the head of the Proud Boys, Enrique Tario, and Rob Dew has a chat with the head of the Oath Keeper, Stuart Rhodes, whom he calls brother.
So these two men, Enrique Tario and Stuart Rhodes, are leaders of groups who participated in organized planning prior to January 6th and stand charged with seditious conspiracy for their actions attempting to stop the certification of the 2020 election.
I don't think any left-wing group Owen can name has done anything close to that level of rioting, and the leaders of both of those groups are his friends.
Reality has to be constructed this way because if you don't do this, then you'd have to distance yourself from these groups and marginalize the violent wing of the movement that you've constructed.
Alex would never do that because he needs these groups.
He needs them to continue to engage in street violence and hostile intimidation, and they need folks like him and Owen to justify it to their audiences by pretending it's only the left that ever acts that way.
And this is only considering the groups that are literally in this documentary and friends of the subjects.
You could branch this out to all sorts of far more militant right-wing groups from the Patriot Front on up and down the line.
And you'd wind up with the picture that the right has a substantially greater problem with organized rioting and violent outbursts than any leftist community or the specter of Antifa could ever be saddled with.
He would have said that the new thing that replaced the mainstream media was lying to them.
If he'd gotten his wish in 2008 and Ron Paul had been elected president, he would have done his whole deep state thing back then, finding traitors everywhere in the Paul cabinet.
I suspect the reason Owen laughed when he said Alex would have retired long ago is because he knows that's not true.
Total bullshit.
You hear the music swelling there, and because this is the point in the documentary, about seven minutes in, where we see present-day Alex for the first time.
This is a choice.
This is a hero shot with the triumphant crescendo and Alex being flanked by tons of people marching in D.C.
This is a decision that Moyer made as a director to introduce Alex this way.
When the director was like, let's put Patton in front of this giant American flag, the director had no idea that that would make people think, oh, this is a patriotic man.
The first was an intro to him as a concept with the clip of Alex from Dark Secrets.
This is meant to instill the message that he's been talking about the same thing for his whole career and he's been prophetic about all this stuff.
The second is an intro to him as a person as he exists now, and you see him as a man vindicated, leading a giant crowd, no longer the outskirt outcast on the fringes of society.
I have to stress this.
These are filmmaking choices.
This is how Moyer wants the audience to see Alex as he's introduced.
And that would be totally fine if this film questioned that presentation at any point.
As is Rob Dew himself, shown here in his trademark Kangle hat.
He got this job through Craigslist, which is fun, but in my experience, most of the talent on InfoWars gets their job through winning a contest.
It's like Willy Wonka for bullshit.
I guess that the behind the scenes folks all just answered the wrong, vaguely worded Craigslist ad that doesn't say InfoWars on it so you can trick people into possibly working there because most people wouldn't do that.
She didn't actually get to do the questioning part, but she did describe to me constantly the experience of like answering who wants to be a millionaire questions as the audition and then getting the audition and then so on and so forth.
That was a more complex and difficult process than becoming an InfoWars host.
No, well, Rob Dew sent me an email asking to be my roommate, but only if I sent him a couple thousand dollars because he needed money to move in with me and he couldn't afford it at the time.
But when he got there, he would have paid me twice as much.
So, you know, I almost thought about it, but I don't think it was true.
Yeah, I mean, this is a notion that is going on challenge, that all these people are making these criticisms of Alex because he's over the target, when in reality, most of those clips that he played were people making accurate points about him.
No, it's like when Alex is sarcastically saying something that somebody else has said that's absolutely accurate, where he's like, oh, Alex Jones is a racist.
And you're like, you can say it sarcastically, but it's still true.
I hate to bring this up because I don't have specifics and I don't remember names and I really don't even remember where it's from.
However, this documentary does exist and it is one where the documentarian gets really close with a bunch of people who committed a genocide and then later over time he gets so close that eventually the people who committed that genocide agree to reenact the genocide they committed on film.
Right?
That is what this documentary should be.
Not like, have you ever considered genocide is awesome?
I mean, I don't think that there is a more real sort of explanation of Alex's information base than I read science fiction in comic books and I really loved them.
And then I saw smarter books and I stared at them.
I got really stuck on World War II books, Rise and Fall of the Third Reich.
Sure, Heinz Hobel's Order of the Death Said.
I read the British Secret Wartime Report on the mind of Adolf Hitler.
I read that twice.
It was all about secret societies and Hitler trying to take them over and British intelligence.
And then I read Henry Kissinger, the writings of Moussey Tunk, the art of war, Time Life Encyclopedias on The Occult, or the Time Life Encyclopedias on the Wild Wall West.
I read them all cover to cover.
And then I found when I was about 12, None Dare Call a Conspiracy by Gary Allen.
And I already read all this other material, so I knew it was pretty much accurate.
More importantly, he's very clear here that he read None Dare Call It Conspiracy at age 12, which he knew was accurate because he'd already read all this other material, which raises the question, what other material?
He was a child reading all these history books he didn't actually understand.
He was skimming shit.
And then he read None Dare and decided this comported with his studied worldview, so it must be true.
I would suggest this is all bullshit.
And the reality is that None Dare resonated with Alex because he was brought up in an insane John Birch Society household, and the book matched up with what his dad had taught him was true when he was much younger.
Another important point to bring up here is that Alex is saying that he read that book at 12 and he definitely didn't read Carol Quigley's Tragedy and Hope before that point, which is why he approaches Quigley's book solely through the lens that he internalized from None Dare Call It Conspiracy.
He'd already consumed the John Birch Society propaganda prior to seeing the actual book, and I strongly suspect that he's never actually even read Tragedy and Hope.
In that clip, if you'll notice, the only person that he's read, the only author whose work he's read who has not been party to or actively committed a genocide was None Dare Call It a Conspiracy.
My dad had friends that were in the John Birch Society, so there was a background noise of them about the one world government and the cashless society and the plan to break up the family and all this.
I mean, basically, I just grew up seeing a lot of stuff that was behind the scenes.
You could refute this clip by confronting Alex with his own words or with other pieces of information that are publicly available.
For instance, you could say that Alex's dad didn't have a friend that was in the John Birch Society.
His dad had been a member himself since college and had given speeches at JBS events.
It wasn't background noise.
That was the operatic score of his childhood.
Or you could bring up various versions of this stuff that he's told on his show over the years.
Like, was his dad actually a CIA dentist?
What about the part where his dad was the smartest boy in Texas and the globalists tried to recruit him into their depopulation conspiracy when he was 18?
These aren't things that Alex is bringing up in this documentary because this is a forum where he's kind of wanting to be taken seriously and not sound like a guy who's just making shit up all the time.
Yeah.
Because he knows that there's a chance that people who don't already like him will listen or watch him.
Yeah, it's a bad idea to just go and say, you know, my dad had all of these books from the John Burchess Society, and also John Williams wrote the Imperial March for the John Birch Society.
It's one of the very few stories about his younger years that he tells constantly in mainstream outlets because it allows him to present himself as somebody who is sniffing out corruption from the youngest of ages.
Here's the thing, though.
On his show, he tells stories about these super rich people all worshiping the devil and them trying to lure him to join them in Satanism by offering him sex with their daughters.
There was a real serious devil worshiping problem in Rockwall that Alex was on the wrong side of, and they wanted to recruit him desperately because Satan had communicated to them that Alex was going to be very important for God's plans in the future.
We know this from Alex's telling of his youth, and this raises an important question.
If he didn't, then it's safe to assume that he was self-censoring because he knew that if he said that shit, he would look like a lunatic.
But if he did say that stuff and Moyer decided not to include it, that means that she's censoring her own subject to protect him from appearing to be as insane as he actually is.
I could see it going either way.
But the fact that this aspect of Alex's self-mythology isn't addressed here is itself an act of censorship, obscuring the reality that Alex creates absurd fantasy stories about himself to satisfy his narcissism and amuse his audience, keep them impressed with his exploits.
This characterization also doesn't match various versions of Alex's violent fighting years that we've heard from various sources, including Alex himself.
For one thing, Alex's story has always been that he uncovered a conspiracy, a secret drug dealing gang within the Rockwell Police Department.
And because of that, the cops threatened to kill Alex if he didn't leave town.
This is why his dad moved them to Austin, according to his consistent telling of it in the past.
Why so different now?
Possibly because his other story is completely absurd and no one outside of his audience would ever believe it for a second.
Possibly because Alex knows that this documentary is meant to reach an unindoctrinated audience and it would be bad for business if he scared them off with his normal bullshit.
Allowing that to stand unquestioned reveals that Moyer is not up to the job of making this documentary.
Either through negligence or bias, she's allowing Alex to contradict himself and not addressing it.
That's bad filmmaking.
It's bad storytelling.
And because the audience isn't made aware of this glaring credibility problem that Alex has, it's an act of sanitizing and presenting Alex inaccurately.
And it's dangerous because the audience could be susceptible to that.
Can you imagine if in the Glenn Greenwald Q ⁇ A, Glenn was like, Alex, tell us about the time that you as a 15-year-old uncovered a drug dealing ring within the police department of your hometown.
Also, Alex LeMoyer probably should have asked Alex about all the people he claims to have killed.
Couldn't hurt to ask about how he constantly talks on air about how it was mostly black people attacking him when he was younger because he was white.
Any of this stuff would be super relevant to presenting Alex accurately because the awareness that he constantly lies about himself is very relevant to a documentary where the main source of information about Alex is Alex himself.
By not addressing his credibility problem in any way, Alex is allowed to be seen as a credible narrator, which is a choice that Moyer is making about how she directed the film.
Maybe because she wants to lie for Alex or maybe because it's easier.
I'm surprised they didn't add the quote where Alex says that no black person has ever experienced racism from white people more than he has experienced racism from black people.
I'm surprised that didn't make it to the documentary.
So anyway, we get these dissonant depictions of his younger years that basically seem like watered down versions of the stories he always tells that are kind of meant to trick people into thinking that he is not a complete bullshit artist.
What have I told you that hiding in plain view in downtown Atlanta, Georgia, there is a giant Nazi symbol that wasn't just one of the main symbols of the Nazis, but it was also designed, hand-drawn by Adolf Hitler.
Hitler absolutely did not design the Olympic rings.
They were designed in June 1914 by a French dude named Baron Pierre de Coubertin.
The reason that Alex is confused is because Lenny Riefenstahl made a documentary about the 1936 Olympics that involved going through Greece and making a prop that looked like an ancient object resembling the ring symbol.
In 1984, Robert Barney, a sports historian, found it and mistook it for an actual Olympic symbol, not knowing it was a Nazi propaganda film prop.
So the association with the design and the Nazis is the product of one mistaken sports historian and a Nazi propaganda film.
I'm willing to bet that Alex got it from the latter.
Even so, he's kind of just making up the part about Hitler designing it.
Well, I'm saying if we're going to tear down everything old in America just because some people might have not been good, I'm just saying, why don't we tear this down?
So at high noon at the Georgia State Capitol, Alex Jones, myself, and other patriots are here, and we are marching and we are telling the Secretary of State, stop, don't certify.
Second thing, it's so weird how this documentary really tries not to point out that Nick Fuentes is right there with Alex and Allie.
No spotlight on the Holocaust denier buddy that you brought along to Georgia.
No shout out for him.
No screen time.
Let's just pretend he's not there.
That's another editorial choice that Moyer is making because recognizing that Fuentes was traveling with Allie and Alex is way too much for this documentary to try and explain to a non-indoctrinated audience.
It's inconvenient to the portrait of Alex she's seeking to paint unless it's just ignored.
Their manual of operations is Agenda 2030, a public UN plan in the name of world peace and stopping hunger that actually shuts down the world economy and will cause massive depopulation.
This is the most dangerous, dark, satanic ideology to ever be on the face of this planet, and it must be opposed.
So here's an interesting question that the documentary filmmaker could have asked: Hey, you're saying this Agenda 2030 thing is the blueprint for how the globalists are going to kill everyone, but isn't that exactly what you said for like the last 20 years about Agenda 21?
Is it possible that the whole thing was bullshit?
And then in 2021, you know, Agenda 21 came around.
You needed a new thing to pretend was the plan to kill everyone?
Inquiring minds, journalism, all of that.
Or, I mean, I guess you could just say, you know, you could let Alex say all this shit unquestioned, and then Agenda 21 never comes up.
Yeah, well, I do feel like the director can get away with this, mainly because the first peoples that I think should be offended by Alex's impression are all Star Trek aliens, and then we get to regular human peoples, you know?
Like, there's a bunch of different alien races in Star Trek that would listen to that and be like, this is unacceptable behavior.
We got to get to Captain Kirk.
We got to deal with this quick because this is fucked up.
And normally I would say, you know, it's your personal business, whatever, no big deal.
Right.
We know from listening to Alex that he's presented that as a pivotal moment in his life when he realized he needed to get his shit together and fight the globalists after his dad told him, stop killing my grandkids.
So, like, that should be a moment that is of impactful enough nature that it should come up in the retelling of his life based on the details that he's giving here.
If you are going to argue to me that a man can tell the same story for 20 years about his origins, about abortion and shit, and then gets to go into a documentary and just omit that as though it never happened and that he doesn't have to deal with it, then we don't get to talk anymore.
And if he had any complaints about the right wing, it was that they weren't far right enough.
This documentary is allowing Alex to present himself this way unquestioned because it doesn't work for their purposes to treat him like an extreme right-wing ideologue from early on in life.
It's far more attractive to present him as someone who's kind of in the middle and liked all sorts of political ideas, but he was driven towards the right by the extreme fanatics on the left who are no longer free speech.
This is a decision that Moyer is making because she wants to make her subject more attractive to a non-exclusively extreme right-wing audience.
It's deception by omission and allowing Alex to present things unchallenged.
And I mean, look, here's the bottom line, too.
She has every right to do that.
You know, if you want to make a documentary that is a puff piece, nonsense, bullshit, indoctrination, whitewashing and sanitization of Alex Jones, by all means, go ahead, but I'm not going to put up with it for a fucking second.
You see here another editorial choice that I think is really glaring, and that is the swelling music accompanying Alex's decision to get into covering conspiracy theories in the New World Order.
You can hear the feeling that's intended to be parlayed there.
The clouds are parting, and Alex sees his path.
That's not something that's being conveyed by Alex's words.
It's being stressed by the musical choices and directorial decisions that Moyer is making because that's how she wants the audience to see Alex.
There is a moment in a new hope that I hope every single human being on this planet remembers where Luke Skyworker is on tatooing and he looks at the two sun setting and the swelling John Williams music plays to a point that if you're not inspired by it, go fuck yourself.
In a Bill and Ted situation, you are George Carlin coming back from a perfect society, being like, okay, if I get this shit and take him back to the future, then we will have a successful world.
So Mike is in this film because he's a voice that can say that Alex is not only great now, he's always been great, and I would know because I was there.
Including this voice and not other voices of people who were there and are now critical of Alex is an editorial choice on Moyer's part.
She doesn't speak to other people who were there when they went to the grove, like John Ronson or Alex's ex-wife, who didn't go into the grove with them but was along for the trip.
The selection of voices that are allowed in this film is curated to create a particular image of Alex, and people who are actually critical of him and know him would threaten that image so they don't exist.
Hey, hey, who among us cannot go back in time 20 years and say to themselves that, yes, this is a country divided and it should be okay to be racist towards Tiger Woods.
Who among us?
Right?
This is years before Obama allowed us to be racist towards the president.
We're here at the Alfred P. Murrow building in Oklahoma City, the site of the April 19th, 1995 bombing.
And there's a lot of questions, a lot of unanswered questions, like, why has the media ignored two seismograph reports from the University of Oklahoma and the U.S. Geological Survey that show two distinct explosion patterns?
Why have they ignored the first preliminary reports of two explosions by people on the ground as witnesses?
And I am not sitting here claiming to have the answers, but I know this.
They don't want you to know something.
They're keeping something from you.
They've done it A to Z from intimidation of witnesses to covering up evidence to destroying this crime scene.
This is tyranny at work one way or another.
Either they're exploiting this terrible tragedy and our children that died, or they were actively engaged in it.
He's got a conclusion and he's going to accept whatever half-cooked pieces of information he can find to justify it.
We talked about how the two explosions and seismograph thing is bullshit back on an episode about Bill Cooper, so I'm not going to get into it here, but look at what Alex is doing.
He's got an inaccurate piece of information he doesn't fully understand, and he's using that lack of knowledge on his part to insist there must be a conspiracy.
Because of this incorrect information, there are two possibilities.
Either the government did this or they're covering up who did because they let it happen.
There isn't a third possibility to him.
He never considers it, and that's almost always the correct one.
That's that he doesn't know what he's talking about, and he's wrong.
All of it was based on incorrect information that he decided to accept as true so he could claim there were anomalies with the shooting that would justify him calling it a false flag so he could pretend that the government was using mass shootings to push gun control.
He's kind of a one-trick pony and that one trick is being wrong.
But like, you know, I think that on one level, in more competent hands, in a actually well-put-together documentary, you could have stuff like this, and you could juxtapose it with stuff about Sandy Hook.
So weird how this documentary doesn't even mention the existence of Bill Cooper.
It's nuts that they're just kind of pretending that Alex didn't completely idolize him and pretending that he wasn't a giant figure in the anti-government conspiracy world.
One of the most basic philosophical things that you learn and you know maybe your first slice of womb, you don't expect to know the first principles of philosophy.
Fine.
Fair enough.
That is true.
So there's more of the past.
And one of the things is about, you know, they talk about Alex going to Bohemian Grove.
Alex is a syndicated talk show host in Austin, Texas.
He broadcasts from his bedroom down an ISDN line to 8 million listeners.
Alex believes that the shadowy elite at Bohemian Grove are the puppet masters who control the world's governments, banks, the media, and the United Nations.
There is video that shows, like B-roll that shows of his interview on C-SPAN where he was talking about how Alex lied about what happened at Bohemian Grove.
They don't play that clip.
They don't play the audio of it at all.
There's no dissenting opinion.
Everything is just reinforcing Alex's perception, even if there are things that are very clear indications that you should have access to the information that makes you responsible for pushing back on this a little bit.
I'm so glad that you could join us today for this Wednesday, July 25th, 2001 broadcast.
Tyranny is enveloping the globe, and the United States is a shining jewel the globalists want to bring down, and they will use terrorism as the pretext to get it done.
This whole section of the film is a really long greatest hits of Alex's career that's meant to paint him as a true renegade, going against popular opinion to tell the truth about these tragic events.
It covers things like OKC, Waco, and 9-11, but it's just surface-level shit, like Alex saying this thing is a false flag.
And then Alex in the present day will say, boy, that sure was a false flag.
It's meaningless and doesn't talk at all about the details of stuff, like how Alex thought the EU did 9-11.
Then we have Bohemian Grove in there, but you don't really have any mention of Ronson going on C-SPAN and discussing how Alex admitted to him that he was lying to his audience about everything.
And even worse, this documentary just ignores so much of Alex's career that doesn't fit its mold.
Like, what about Y2K?
Or even larger, what about the Boston bombing?
That was a giant part of his career, and he got it completely wrong.
That was an event where he managed to send Dan Badanti to disrupt a press conference that the authorities were holding to inform the public about the situation while the bombers were still unknown and on the loose.
The public was living in fear, and Badandi was just yelling Infowars.com at the police who were trying to calm the public.
You can make an argument that his coverage of the Boston bombing is in like the top five points of his career that bear mentioning.
The selection of what to cover and what not to cover is an editorial choice that Moyer is making because these things are the building blocks of Alex's mythology, whereas things like him being an idiot and gleefully exploiting a terrorized city isn't necessarily good optics.
Sandy Hook will come up because it has to, but it's presented as more or less the exception that proves the rule and even more poorly presented, and we'll get to that later.
It's like the one blemish on his otherwise spotless record, you know, the thing that proves Alex actually is human, despite all this evidence to the contrary.
We are in an interesting and unique situation where, once again, no one has seen this, or the people who haven't seen this or who are unfamiliar with Alex have no idea what's going on.
And most of our listeners would be incredibly bored by us telling the regular people insane information.
Yeah, just, I mean, like, basically, The points of these things from the past are presenting Alex's activities surrounding these topics in the most generous and heroic way.
Much of the discussion of the past is framed as things Alex did being unpopular.
He got fired for covering Waco, according to the stories here.
He lost all these stations for covering 9-11 as a false flag.
He was punished for telling the truth, but he kept soldiering forward.
It's important to understand that framing as a critical piece of this documentary's editing choices, because when you now flash back to the fall of 2020 and Alex is at these Stop the Steel rallies, he's having everyone yell that they love him and all this, which is meant to be experienced in contrast with how he was treated in the past.
This is visually telling the audience that Alex was right all along.
And though he suffered hardships, at the end of that road, the people realized he was right.
This is bullshit, and it's not the impression you would get if this tour through Alex's career treated his career accurately and not like an embarrassing puff piece.
If you saw him fumbling around and saying horrible racist shit or insinuating for months that the bath party were being reinstalled in Iraq or arguing that the EU did 9-11 or doing insane shit about Obama's birth certificate or his Ebola bullshit or Pizzagate or slandering the head of Chobani or how he thought that Obama was a secret Muslim trying to use FEMA to turn the U.S. into a caliphate under Sharia law or all the times he insisted that Ron Paul was going to win the GOP primary, then you wouldn't see that smash cut to the present day the same way.
If you understood the clearer picture of his career, you might see the people yelling out that they love him as pitiable people who've been sucked in by a con man.
But because this documentary only seems to care about presenting Alex as a really solid information guy, you see the people flocking to him and it's meant to look like they've finally come around and recognize that Alex is great.
This is a choice made by the editing that is being done by Moyer.
Do you remember how that one time the United States was running these drills, right?
And they didn't notify Russia of it.
And these drills would be very similar to ones that you would do if you were launching a nuclear attack.
And Russia, because they didn't know that the United States was about to or was not going to launch a nuclear attack and only knew that these drills were happening, decided that what they needed to do was launch an actual real nuclear attack.
And it was only because of the efforts of one heroic man that they did not shoot those fucking missiles, right?
I mean, when you've been raked over the calls by the media, like I've been raked over the calls by the media, like my mom said, sticks and stones can break my bones, but names will never hurt me.
And I will tell you, and I've said this before, the media, the media is doing an incredible disservice to this country.
People are looking up at the sky as Trump flies over in the helicopter.
There's a shot of Mike Lindell looking up like he's going to cry.
There's this beautiful operatic music indicating an almost religious experience that people are having, looking up to the heavens.
Moyer chose to play that music underneath this video, which gives it a very particular tone.
Essentially, that there's a giant cult of people who view Trump as their savior.
But this documentary doesn't give you any reason to think that's a bad thing.
The subject of this film is the biggest Trump supporter in the world who's cried on air about how he would die for Trump.
There's no voice in this film that's critical of Trump, so the music doesn't really come off as heightening or highlighting something that is being commented on.
But I mean, we are discussing a movie, and we are discussing a person who's making a movie and a person who's making a movie like you would make a Hollywood movie.
And so, if I was discussing a scene in Apocalypse Now where someone were to say, I love the smell of napalm in the morning, and I were to play the Benny Hill theme song, it might sound different.
this is Trish from Michigan that's a fucking coffee hey this is Trish from Michigan yeah I did it and you and I was making a comment about John the Baptist you're more wonderful I feel like that we're preparing a way I'm so thankful for you, Alex.
That clip suffers from the same problem as the last one.
Inside this film, there's no reason to think it's weird for someone to be comparing Alex to John the Baptist.
This film is essentially justifying that conclusion by choosing to show what it shows.
A woman climbing over a fence to take a selfie with Alex and compare him to John the Baptist should be a shocking image, and it should be troubling.
But in the context of this documentary, if you accept the story as Moyer is telling it, why wouldn't you think that Alex is John the Baptist?
He's basically been right his entire career and persecuted for telling the truth about what was coming because that truth threatened the power structure.
This documentary allows Alex to frame himself so unquestioningly that it makes sense that this woman views Alex this way.
Honestly, it would almost be weirder if she didn't.
And we get, we pick up here where Alex is discussing, I think he showed up at like a convention and is talking about how like none of these candidates are good.
You want to be on this crusade that's going nowhere?
Or do you want to be a star?
Fox News offered me multiple jobs.
Has to be a move to Manhattan.
We're looking for somebody that's the next Rush Wimball.
And we'll have editorial control.
You'll get multiple book deals a year.
You'll have a national TV show.
And we just want to do this.
And then when I refused Fox News, right before Glenn Beck was picked and appeared, they would have articles saying Jones wants to be on Fox News, but Fox News doesn't want him.
So now we see flashing back to the past again, but it's important to understand what track we're on.
This is the track that leads to him supporting Trump, which has to be contextualized by pointing out Alex's renegade individuality throughout his political career.
Here he is talking about how Bush and Kerry both suck.
You know, he doesn't want to be a part of Fox News.
They conveniently ignore his constant support for Ron Paul's candidacies because why provide context when you can just pretend that Trump was Alex's first love?
This is the section where Sandy Hook will come up because this documentary wants Alex's coverage of Sandy Hook to be understood in a very specific way, which we'll discuss when we get there.
Also, if Alex had ever taken one of those job offers at Fox, he would have lasted about as long as Michael Savage did at MSNBC.
Like, back then, if you were to take his words, you could put it into like guitar tablature, and you would have a clearer idea of why people enjoyed it than you would if you listened to his words.
Yeah, you know, it's almost like suspicious in its absence from this documentary is Alex explaining that all of his enemies are literally controlled by the Christian devil.
It does feel like if your fundamental issue with the globalists is that they are controlled by the literal Christian devil, that should also be the centerpiece of your documentary.
Alex as Obama Joker is that's available in Street Fighter 11, I think.
Well done.
So, yeah, so Alex is continuing this narrative of persecution and sticking to his guns and having like a principle.
Like, I was the same.
Liberals loved me because they thought I hated George Bush, but I also hated Obama, and then they stopped liking me again, and I was punished again for my integrity.
But here's the thing: the video that's used in the documentary doesn't come from the original show that Alex did.
The graphics that it uses are similar to those in this little sizzle video that Alex put together on his website in the Alex Jones prediction section that's meant to show that Alex Jones is right about everything.
That's not great to imagine that instead of using primary sourcing, this documentary might rely on a propaganda video made by Infowars designed specifically to pretend that Alex predicted COVID over a decade ago.
I probably wouldn't do that.
I don't know.
I would just use the raw video of Alex from 2010 because it's available, obviously.
In the year 2023, COVID-22 has been released, and no one's allowed to go outside, and tens of millions are dead who were shot and killed for leaving their houses.
They're going zero to a trillion miles an hour.
We went into warp.
We're in warp right now.
Trillion miles an hour.
And that's where my study of history and religions and science ends because whatever it is they're tuned into is beyond my knowledge.
Alex has very frequently talked about how God has given him visions of everything that's going to happen and that he's a psychic.
I'm going to guess that he didn't say that because he doesn't want people who don't already like him to know that he's that nuts.
Also, this is a more recent thing, but it's still part of this descent into the past based on him predicting COVID back in 2010.
We're still on that track of Alex being a renegade who has no team, who the liberals liked because he was criticizing Bush, and then they stopped liking him when he attacked Obama.
That's the main theme of this section that we're in, or the river that we're in, as Alex would put it.
I am frustrated by the general vibe I'm getting that this documentary is meant entirely to rehab Alex's previous five years of being a far-right nut job into returning to some sort of pre-Obama era above the left right paragraph paradigm version of himself.
I'm so past the politics and all the names and all the stuff.
It doesn't even matter anymore.
I'm just guilty because I've not raised my kids perfectly and I'm like really freaked out by all this and just trying to have a relationship with God so that my spirit gets out of this when I die.
Suspicious in its absence from this is the subsequent time when Alex showed up at a Piers Morgan event and begged him to come back on the show.
And Piers was not interested in talking to him.
Man, I bet there's no recording of that, and there's no way to hear any evidence that I wish that I had the time to go through all the archives because it's been on our show.
Trump tapped into the same populist anger, the same populist concern that I've been tapped into.
The whole takeover failed, didn't it?
And now, who gets to talk to the president?
Who gets to talk to Supreme Court justices?
Alex Jones.
Alex Jones, he was a nice guy, actually.
You like him?
That's when the media took the gloves off and went from twisting stuff sometimes, more playful like I was a joke, to like every newspaper runs an AP article.
The last way that any self-respecting filmmaker would cover this subject matter.
Sandy Hook is not coming up as an instance of something really, really bad that Alex did in his career.
It's being presented as something that people are only mad about because they needed an excuse to attack him because he supported Trump.
This is a choice that Alex Moyer is making as a filmmaker.
She didn't have to include the Sandy Hook outrage as merely the result of people needing to justify hating Alex Jones.
Alex's Sandy Hook coverage isn't even mentioned chronologically because in the context of this documentary, the important thing isn't his coverage.
It's the way people got unfairly mad about it because he liked Trump.
There's no counterbalance to this depiction at all.
This is an unchallenged position in the film, which is editorially supported by the way that Moyer has edited this documentary.
If she thought that Alex's claim was at all dubious, she could reach out to one of the Sandy Hook parents to discuss how they were trying to get Alex to stop this shit long before he cared about Trump.
Or if she wanted to give the impression that she disputed his claim, she didn't have to structure and edit the film to comport with Alex's narrative.
Again, much like with the John the Baptist thing, if you believe what this documentary is presenting, you have no reason to not believe that people are only mad about Sandy Hook because Alex supported Trump.
The story, as it's told, leads you to no other conclusion, and that is a choice.
That is a choice that's being made in the creation of this documentary, and it's unacceptable.
And to recognize that this is intentionally being released during the Sandy Hook trial makes this outrageously offensive.
This is unacceptable.
And Alex Moyer, I don't know what the fuck you think you're doing, but this is tragic.
I mean, there's a reason that the discussion of Sandy Hook as the one thing that Alex fucked up isn't included in the timeline of his career and all these greatest hits.
It's because it's a prop in order to justify why people are so angry at him.
It's because he likes Trump and they just picked through his career to find something they could be mad about.
When we talk about nuance, one way to view that is by math, just very simple.
And the fact that we are very capable of talking about nuance, but when we talk about it, we're not able to really get to the fact that if Alex is 20% responsible for Trump becoming president, then he is responsible for Trump becoming president.
And even to make your point further, like, there's no way that we can create a counterfactual reality where Alex's earlier career didn't exist and the parts of it that involved the Tea Party and he helped start the Oath Keepers and all of these things, like the ripple effects of these things from further back in his career and how many of those had an indirect effect in getting Trump elected.
The internet was questioning many anomalies of Sandy Hook, some of which turned out to not be real anomalies, some of which were still unsolved anomalies.
So they play some clips from the depositions, and I will say they don't play the ones that are meaningful, but Mark and Bill both make an appearance in this documentary.
Daria was asked today why did Rob Dew leave the company?
And what she did not say was what I think we all secretly believe is because he would never become the corporate representative for InfoWars again under oath.
And that is why Daria is sitting in that stand right now.
So there's just like the appearance of them badgering him.
And like it's, it creates the appearance of like Alex is a victim in this whole thing.
There's no recognition of the fact that it is these parents who are suing him.
There's no recognition of what they've gone through.
It is an entirely one-sided presentation of his Sandy Hook legal troubles, which again are presented as only the result of people trying to find something to be mad at him about because he supports Trump.
And one of the things that he likes to do is whenever people are like, hey, man, you did some really fucked up stuff about Sandy Hook and your behavior was abhorrent.
And you probably, you know, owe these people some money for defamation.
I let that go on as long as I did because I wanted to illustrate that they play almost the entire Bonnie Ver parody video of Alex because it's the most like it works for him.
Ladies and gentlemen, this is such a historic moment together.
This is such a historic moment as America awakens to the new order.
It is an incredible honor and an incredible treasure to get to meet and see so many amazing human souls, so many great Americans.
Let's go!
USA!
Nobody planned this, but Trump's actually getting his inauguration on January 6th, 2021 right now, folks.
They've really screwed the push on this.
We're going all out peacefully.
We have the facts on our side.
We want in violence.
We decry violence.
We're not BLM.
We're not angry.
We're here to let the system know that we know we had our votes stolen, that we could put millions in the streets when Biden can't even fill six circles in his little COVID meetings.
If you're trying to stop people from taking over the Capitol to get rid of the illegitimate government that you believe has taken over the country, I don't know if chanting USA is going to really calm people down, but he tries.
Dear every creative person that has ever existed, do you remember that time when you were like, here's what I'm going to do?
I'm going to put into this section of my creative endeavor where somebody, an American, tries to calm a crowd down or change their minds by just randomly chanting USA.
You remember when you were going to do that and you were like, that might be a step too far?
So there's a dynamic that I think could be explored interestingly by a different documentary than this.
And that is Alex being unable to control the monsters he creates.
He has done his part to create the exact situation that unfolded on January 6th.
And here he is yelling in a bullhorn, unable to stop people from doing the thing he's pretending he doesn't want them to do.
And that is a kind of sad picture.
And it's very similar to the way that he's unable to stop his listeners from harassing Sandy Hook parents.
Like he created this atmosphere.
He created this thing.
And even if he does eventually say, hey, I think kids died, I'm sorry.
He's not able to stop the ball that he started rolling down the hill.
He can't stop these people from wanting to take over the Capitol after you have yelled into a bullhorn all day about how your vote was stolen from you and this is illegitimate and we need to take back our country.
You have no power over the monster you create.
You have the power to rile people up and create this atmosphere that you're impotent when it comes to stopping it.
I mean, so this, what this reminds me of is despite him being a horrific, terrible, shitty person, in the book Speaker for the Dead, Orson Scott Card had a character who was, I mean, essentially living out an Alex Jones fantasy.
So he built up this mob, as one would describe it.
And the way Orson goes through it is that this guy is in control of this situation.
He builds this mob together and he pulls it.
And then, without his ability to control it, it becomes a thing.
It becomes a general consciousness.
So despite the fact that it's a bunch of different separate individual human beings, it is one mob.
Ladies and gentlemen, it is zero hour, January 20th, 2021.
And the 46th president of the United States has just been installed in a giant coup for the globalists and the communist Chinese, Joe Biden, looking like a corpse with fake hair blowing around.
And it's cost him his job because of Waco and all these stations because of 9-11 and his liberal fan base because he wouldn't accept Obama and all this.
And then finally, he's vindicated in the lead up to the 2020 election and the Stop the Steel stuff.
He's finally a man because of Trump who is seen as the guy.
He's been right all along and we were foolish not to listen to him.
And then he has this culminatory moment on January 6th and he is completely unable to stop the crowd from taking the logical next step in his rhetoric, which actually doesn't serve his purposes very well.
And you see the steps and you know that it's not going to go exactly how you want it to, but there's going to be a goal at the end you reach that's better for everybody.
And you know it's going to be painful.
You know you're going to make mistakes.
You know you're going to even hurt people on the way, but you're doing it from a place of goodness.
And so you forgive yourself for that.
It's that process of being destroyed that by the end you're complete.
I got to say, I think ending the documentary with Alex expressing forgiveness for himself is maybe not the way I'm really grateful that I'm allowed to be not responsible for any of my actions.
My summation of the documentary is what if you made a bad porn movie that was just two and a half hours of somebody gradually, ever so slowly poking at a limp penis.
Well, I think the way that you talk about Alex's career in terms of like Oklahoma City, 9-11, if you want to portray that as kind of mythological and this false version of it, whatever.
So if you're going to do that, you're going to do that and whatever.
I think the framing of Sandy Hook as just something that people are mad about because he supported Trump is an unexcusable and editorial choice that these documentary filmmakers are making.
And I think they should be deeply ashamed of themselves.
I think that anybody who watches this documentary, like Glenn Greenwald or Matt Taibbi, and they don't come away with the same kind of conclusion, I think that they have lost it.
I don't think it's possible to watch this documentary and think, hey, you know what?
Some of the musical choices, not the ones that are like really tacky and the crescendos that are like overly dramatic.
Some of the other ones are very weird to the point where I had to pause a couple times because I thought something like a pop-up started playing music.
Right, but what you're missing is that this is actually, okay, and I feel like I now understand the documentary.
I've come to the conclusion that what this documentary is about is that a man at one point in time, if he had chosen not to do a Rush Limbaugh impression, could have joined the Vespers Choir.
And instead, he chose one path.
It is a classic poetics tale of a man who can go down two paths.