NBC's Law & Order:
Entertainment Serving the Elite
By Nicholas Stix

hroughout history elites have used narratives, usually based on actual events, to shape and control the picture of the world they impose on the societies they rule. Sometimes those narratives depict the heroism of ancestors in the hopes that a dramatic retelling of past exploits will motivate young listeners to emulate them in behalf of the elites. In societies ruled by more ideologically inclined elites, those tales often take the form of morality plays that shape and mold the outlook, values, and judgments of the ruled.

Here in the U.S., elites use the corporate entertainment industry and its vast television audiences to shape the outlook of their constituent populations. But instead of using truthful narratives, American elites resort to lies and distortions so that actual events can be twisted and bent to conform to the propaganda needs of their left-wing ideology.

Consider the case of NBC's Law & Order, an extremely popular television show. L&O's left-wing producer, Dick Wolf, controls a stable of five crime-oriented shows (also Law & Order: Special Victims Unit, Law & Order: Criminal Intent, L.A. Dragnet and Crime & Punishment), making him one of the most powerful men in television. For years, Law & Order, which is filmed in Manhattan, advertised its episodes as being "ripped from the headlines," a claim Wolf and star Jerry Ohrbach still make in interviews. But instead of depicting reality, Wolf's scriptwriters take high-profile crimes committed by blacks, and replace the bad guys with whites, even inventing white racist criminals that bear no relation to anything seen in New York during the past 100 years.

And so, even though more than 89 percent of suspects in violent crimes are black or Hispanic according to NYPD crime reports, L&O presents a looking-glass world in the grip of a white crime wave. In "Teenage Wasteland," an episode that originally aired on February 7, 2001, the true case of a group of black teenagers who ordered Chinese food, and murdered the delivery man, is turned into a group of middle-class, white kids. "Myth of Fingerprints" (November 14, 2001) tells of a white, female forensics chief whose years of false testimony has sent many innocent men to jail.

One of those innocents was murdered in prison, resulting in the official's conviction for manslaughter. "Fingerprints" was loosely based on the real case of former Oklahoma City supervising forensic chemist Joyce Gilchrist, nicknamed "black magic," for her seeming forensic wizardry. Gilchrist's lab techniques and court testimony had come under scrutiny by federal and state authorities. Critics charged she gave false testimony causing 23 men to be sentenced to death, eleven of whom were executed. Joyce Gilchrist is black, but unlike the fictional white official, was never prosecuted, though she was fired for alleged "flawed casework" and mismanagement.

Seven months after the October, 2002 Washington, D.C. sniper case was closed with the arrest of suspects John Muhammad and Lee Malvo, L&O dramatized the case, but with the shooter as a white man! ("Sheltered"; May 14, 2003.) "Smoke" (May 21, 2003) opens with the death of a child, whose adoptive father, a famous entertainer, had dropped him, while dangling him from a hotel room window. The detectives eventually discover that the entertainer would also arrange for underage boys to accompany him to his mansion, where he would sexually violate them. When I told a not particularly media-savvy neighbor who is the mother of four small children that story line, she immediately said, "Michael Jackson!" But on L&O, the character was depicted as a white comedian. Remember the Danny Almonte case? Almonte was the 14-year-old Dominican fraud who -- through the connivance of his father, Felipe de Jesus Almonte, and Bronx-based, Dominican Little League coach Rolando Paulino -- passed himself off as a 12-year-old, in order to play in the 2001 Little League championships. But in "Foul Play" (May 1, 2002), the coach magically becomes a blond-haired, white man, who is somehow convicted of a murder committed by the player's father.

L&O's creative team must read some interesting publications, since many of their "ripped from the headlines" stories never happened, but suit any left-winger's paranoid fantasies quite well. Consider their obsession with non-existent, murderous white supremacists, whom they depict as besieging Manhattan. In "Open Season" (November 20, 2002), a William Kunstler-like defense attorney is murdered while celebrating the acquittal of a guilty-as-hell black defendant for shooting a white policeman. The killer, a member of a white supremacist group, then uses his defense attorney to unwittingly pass along information to his co-conspirators, who murder a prosecutor in another state. The defense attorney is charged with aiding and abetting the supremacists, before she is shot by a female supremacist. The real basis of the episode was the indictment of radical attorney, Lynne Stewart, of consciously aiding and abetting Moslem terrorist Sheik Abdul Rahman, the convicted ringleader of the 1993 World Trade Center bombing. In "Prejudice" (December 12, 2001), a racist, white real estate agent progresses from writing a letter to his co-op board in an effort to keep an interracial couple out of his building, to flashing a gun at a black colleague, to murdering a black man who beat him to a taxi. Such a case would have been fantastic in 1951, let alone in 2001. In "Genius" (April 2, 2003), a white, violence-embracing ex-con-writer stabs a white cabby to death. Viewers are then given mixed messages, as the cab driver turns out to be a fugitive, white supremacist racial murderer.

In another surreal L&O touch, ordinary black New Yorkers are repeatedly shown to be victims powerful white overseers. In "Kid Pro Quo" (April 30, 2003), the dedicated director of admissions at a tony private school is murdered by her corrupt racist boss. The victim sought to get a deserving but poor black girl admitted, but was overridden by the boss, who'd taken a bribe to accept the inferior child of a Jewish pornographer. And then there's the homophobia angle. In the real world, Manhattan is, like San Francisco, one of the most gay-friendly areas in America. But not in L&O's alternate universe. In "Girl Most Likely" (March 27, 2002), a private school student murders her lesbian lover, in order to hide the fact that she is gay. Last, but not least, comes xenophobia. In "Patriot" (May 22, 2002), a pale, blonde-haired former special forces officer kills a Moslem immigrant he had surveilled, and whom he suspected of being a terrorist. The prosecutor presents the imaginary patriot as a fire-breathing, chest-thumping, jingoist monster, even as the story suggests that the dead man really was a terrorist.

Now beginning its fourteenth season, Law & Order, a top-rated show and perennial Emmy nominee for Outstanding Drama Series, serves as a willing tool for the elites' culture war against Middle American whites. No wonder it receives awards and recognition from its corporate masters.