My basic point here is that news media seems to have become a cartoon, yet it is the viewer who is standing in thin air, holding a hand-lettered sign reading “Have mercy”.

“News” has always been subject to partisan adaptation, but in recent years there has been a lurch towards more and more overt manipulation and propaganda.

I don’t mean all that made-up stuff on Facebook. Which, by the way, appears even MORE made-up the more I see that one screen grab that proves Russia was trying to make fools out of America in the Presidential election. The Satan arm-wrestling Jesus one? I’ve never seen it in any other form except that one screen grab. Anyway.

The problem of the use by Trump (et al) of the term “fake news” is that what is frequently termed “the mainstream media” (MSM) (which I take it refers to traditionally reputable reporting outlets like newspapers, their online versions, BBC, ITV, Sky News, and the US equivalents) are, indeed, now perhaps more than ever, offering clearly biased versions of events, or frequently just making shit up.

It is a pantomime so painfully laboured that it is unclear for whom the entertainment is intended.

It could be argued that with the presentation of some issues in the news cycle being so blatantly one-sided and manipulative, there must be some other aim to the parade of bogus views, faked outrage and nose-leading opinion pieces masquerading as reporting.

Distractive media, one might call it, existing purely to have everyone looking at something else while some particularly egregious scheme is effected.

In the UK, for one example, we have Katie Hopkins, whose utterances I greet with a shrug when I hear about them. Her provocations are such a contrivance that I cannot expend any energy on them.

For another example, follow @geoffreyjewdas on Twitter and work backwards to the BBC’s latest round of character assassination concerning Jeremy Corbyn.

The Salisbury “chemical weapons” thing.

It is documented fact that eccentric multimillionaires attempt to control the discourse. Their reaction to a loss of monopoly, through individuals being able to access information directly, with millions simply not trusting them n’more, seems to have been to insist that their broadcasting organs present increasingly quixotic and offensively skewed information.

There’s a sense of acceleration about it too, an increasingly frantic scramble towards the base, which appears also to be a mode manufactured deliberately.

Yet with cackhanded obviousness, brazen wrongness. This seems more about attempts – and I mean comically slapdash attempts – to control people’s perceptions of events in a way that suggests our overlords don’t care who knows they’re trying to do it, or that they think no one can tell. Only, is it because “they” – The Man – think it’s safe to just do what they like, or that they want everyone to think that?

It calls to mind a real-world version of Facebook’s walled garden. A place where individual stories can’t change individuals’ decisions, but the overall backdrop can manipulate the way those events are interpreted. Only the backdrop here is apparently one of those Wile E. Coyote works, painted over a canyon wall, through which Roadrunner disappears, and from which emerges a truck, with horn blaring.

Viewed from outside the cartoon, it is funny in its preposterousness. Inside the world of the cartoon, from the point of view of the Coyote, it is an affront to reason, one that might legitimately prompt another hand-lettered sign saying “What the fuck is going on?”

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