The lie | Television | THE COUNTRY
In what you go with the command of Netflix to HBO, you can find a fundamental key to check what has mutated the lie in the last 20 years. In the first platform they exhibit Negation, by Mick Jackson. And in the other, Brexit: The Uncivil War, by Toby Haynes.
One account of the process that the historian Deborah Lipstadt (Rachel Weisz) waged in the year 2000 against the writer David Irving (Timothy Spall) for being rocked by the Holocaust. Not content with the hoax, Irving sued with his phlegm british to Lipstadt and her publisher, Random House, for the attacks she launched on him in a book. It came out shorn. But what the trial could restitute in the times marked by justice and, therefore, the system, was the incontestable historical truth.
In Brexit the matter tells the kitchen of the no to the referendum. How a series of bullets issued at the speed of light were imposed without the system, this time by means of the polls, could avoid its rennet. The lie has found a predatory mechanism to impose its law: the ray of social networks. An epidemic that eats and infects. It denigrates, distorts and achieves results for those who seek the power of disintegration in democratic societies.
Both films show how the rhythm and times have changed. If only two decades ago there were legal mechanisms to dismantle the falsehood in the courts even at the expense of intense public debates, now, all that is impossible. For when those paralyzed by uncertainty want to react, it is too late. Those who expand it to usurp power have installed themselves. And that's how everything is left in the hands of squats heartless, unscrupulous antidemocratic bacteria: Trump, Orban, Salvini, Bolsonaro, Vox? ... The troop of global rustlers commanded by Steve Bannon. Liars without complexes.