It is broadly assumed that TV and movie production in the United States is generally free of government meddling, but this is not true in the case of America's secret police.
A little known law passed in 1954 at the urging of then FBI Director J Edgar Hoover makes it illegal to display the FBI seal, the FBI initials, and the words "Federal Bureau of Investigation" in commercial popular culture without expressed permission from the Bureau's propaganda office, the Investigative Publicity and Public Affairs Unit (IPPAU).
In order to obtain permission to portray the FBI on film, writers and producers must give propaganda agents full veto power over their content.
A cache of documents obtained in 2017 by journalists under the Freedom of Information Act (FOIA) found that the FBI uses this power liberally to sanitize its image. Various other federal agencies like the CIA and ICE do not have this power.
In 2010 terrorism thriller Unthinkable, the IPPAU forced producers to cut a scene showing FBI and CIA agents torturing a man together. In the "revised" version, the CIA agent still tortures the man, but laughably, the FBI agent present protests against the action the entire time, even citing the Geneva Convention as reason for refusing to participate.
The FBI sends "advisors" to rewrite scripts in all productions about them, often cutting out instances of them violating people's civil rights, talking down to local cops, or engaging in various heinous activities. The result is preferential media treatment most law enforcement groups do not enjoy: the popular portrayal of every single FBI agent as a hero saving the world while we sleep without ever needing to break any rules is deliberately constructed fantasy.
The Trump-era and the Coming Propaganda Offensive
The thuggish and corrupt behavior of the FBI after the 2016 election has, naturally, caused it to suffer an enormous credibility crisis that is only getting worse.
In an attempt to mitigate this, then FBI Director James Comey solicited Jewish television mogul Dick Wolf to create a series of programs to help manufacture public opinion in their favor.
In an interview on the 2017 reality TV show in question, Inside The FBI: New York, Wolf told reporters: “(Comey) feels strongly that this type of positive programming about the Bureau will help educate people about the multitude of areas the Bureau covers and the diversity of its agents and operations. The opportunity to work together was too good to resist.”
The show was co-produced by special agent Anne C. Beagan, who in her capacity as an IPPAU operative went on to supervise Wolf's fictionalized FBI crime drama, FBI , which began airing in 2018, as well as its spinoff FBI: Most Wanted which began in January 2020.
As if three FBI public relations projects masquerading as TV shows weren't enough, CBS announced this week that yet another spinoff is in the works: FBI: International.
These shows were all greenlit for new seasons in 2021-2022, meaning that audiences will be inundated without pause with realistic looking fiction glorifying federal agents.
Agent Beagan, who retired last year after a decade of covertly and overtly influencing the media, has also founded her own production company, Anne Beagan Productions, which promises to help create scores of new FBI themed shows and films.
Inverting Reality Through Hyperreality
In FBI, by far the most popular in the young franchise, comical narratives are spun showing FBI agents thwarting villainized portrayals of, you guessed it, white men. "White supremacists" and far-right boogeymen are the most recurring bad guys in the series.
In case you thought the IPPAU would intervene out of inter-agency solidarity, multiple episodes of FBI show an ethnic stew of female-led enlightened agents checking the excesses of caricatured Immigration Customs Enforcement (ICE) officers, who are shown as a gang of ignorant, racist, murderous thugs out to hurt brown people.
In FBI's pilot, a bomb goes off in a non-white neighborhood, which investigators initially believe to be part of a gang war between blacks and MS-13. As the story progresses, shrewd agents discover that the culprit is a suit and tie paleo-conservative who planted the bombs in a conspiracy to frame non-whites as violent and dangerous.
In "Crossfire," a white veteran from Staten Island brainwashes a young Somali Muslim into helping him assassinate state officials. "This Land Is Your Land" features militia members working with a Russian to create biological weapons.
ICE gets special interest. In "Most Wanted," a federal deportation officer is shown massacring his family and then going on the run. Season 2's "American Dreams" features a white supremacist hijacking a school bus, with a side plot featuring ICE racially profiling an FBI agent's daughter and trying to deport her.
While critics have given the show mixed ratings, it is popular with liberal audiences, garnering 8-10 million views per episode.
FBI, in conjunction with mass media, undoubtedly plays a role in manipulating public perception, particularly in Blue America. Last February, 47% of Democrats said "white nationalists" were America's number one national security threat, compared with just 3% of Republicans and 29% of the population overall.
In a May 2019 survey, only 48% of Republicans said the FBI was doing a good job, with 28% rating them poorly. This number has probably eroded further following the selective and mass prosecution of Capitol protesters compared to the total lack of consequences for murderous violent Antifa rioters over the summer.
The FBI, Hollywood and television corporations seem to think the solution to this is to keep doing exactly what has made them such a polarizing institution while drowning the country with their egoistic sense of themselves.
They are vicious and cowardly tyrants. When this dark moment in America is finally over, they will be categorized alongside the KGB and Stasi, where they belong.