No Other Land and No Other Pants

No Other Truth: The Deceptive Art of Selective Storytelling
The Trompe-l’œil of Documentaries Won An Oscar

The argument that pro-Palestinian nudniks cling to—that Israel is their land—reminds me of that age-old joke: What came first, the chicken or the egg? To this day, no one has come up with a definitive answer.

Israel—aka the Land of Zion—is like that chicken-egg joke, only I do have the definitive answer. Judaism was created in Judea, where Mount Zion stands, around the 2nd millennium BCE. That established Jews—aka Zionists—thousands of years before Jesus—who was a total Zionist—and Muhammad, who may very well have started off as a Zionist but has since been co-opted into a psychotic nudnik threatening the lives of anyone who doesn’t conform to his Johnny-come-lately interpretation of the original Bible. Which was first crafted in Judea—aka Israel, the tiny plot of land between the Jordan River and the Mediterranean Sea. Put a pin in that phrase, I’ll come back to it shortly.

So, when tracing the origins of the three major religions, it is now clear: Judaism came first—long before the others were even a glimmer in Jesus’ or Muhammad’s mothers’ eyes. And where did the followers of these subsequent religions come home to roost—like chickens? In what is now officially and legally Israel—despite those who claim otherwise. And to those people, I’ve got a bridge to sell you.

Which brings us to another abstract comparative concept—trompe l’oeil, the artistic technique that tricks the eye into seeing something that isn’t truly there. While this is an impressive feat in painting, in journalism and documentary filmmaking, such deception raises serious ethical concerns.

Just as trompe l’oeil manipulates perspective, the Oscar-winning documentary No Other Land, rather than offering a balanced account of the modern history of the region, it relies on curated footage, emotive testimonials, and a distinct lack of crucial context to reinforce a predetermined narrative. If you want an honest reporting of the film and how it misrepresents reality, go to Honest Reporting, “Yet Another Fake ‘Israeli Settlers’ Story” for the absolute truth about the film and the facts on the ground.

The Academy’s decision to honor No Other Land raises broader concerns about the role of documentary filmmaking in shaping public perception. Documentaries should be held to high journalistic standards, especially when dealing with war, conflict, and human suffering. By rewarding a film that relies on selective storytelling rather than full transparency, the Oscars have legitimized a dangerous precedent—one where artistic manipulation can masquerade as objective truth.

Egregious media bias against Israel has been on full display in recent years—especially with The New York Times—amplified by social media’s unchecked spread of misinformation. What was once a platform for connection has devolved into a cesspool of vitriol, echoing the very doctrine that has fueled global antisemitism for centuries. Algorithms prioritize outrage while clickbait whores ensure that lies spread faster than truth, deepening mistrust and fueling division.

The consequences are real: attacks on Jewish communities are rising, antisemitic rhetoric is becoming mainstream, and the distortion of historical fact is no longer confined to the fringes—it is now reinforced by mainstream media outlets that should know better. This cycle of misinformation doesn’t just shape public opinion—it radicalizes it, making facts irrelevant in favor of narratives designed for maximum engagement.

We see the results playing out in real-time. Masked protesters on college campuses burn Israeli and American flags while chanting “From the river to the sea,” a call for the destruction of Israel disguised as activism. This ties back to an earlier point—when history is rewritten and reality distorted, the mob follows, convinced they are fighting for justice while marching in lockstep with an ideology built on erasure and hate.

[SIDEBAR] The word falsehood has long existed in the English lexicon, but its widespread use as a softer substitute for lie gained traction after Donald Trump’s 2016 election. The media, reluctant to directly call the new president a liar, began favoring falsehood—a term that carries a veneer of civility while avoiding the blunt accusation of deception. Liar, liar, pants on fire was out, and misleading statements or falsehoods were in. And when I say pants on fire—or something—I mean Trump’s hilarious attempt to make “wrinkled, ill-fitting palazzo pants great again.” Defying logic, much like the narratives he spun.

Media outlets feared accusations of bias, legal repercussions, or simply alienating readers. Yet, in doing so, they inadvertently sanitized the gravity of repeated, deliberate dishonesty. In much the same way, No Other Land cloaks selective storytelling under the guise of documentary filmmaking, presenting a carefully managed illusion rather than an unfiltered reality.

Misinformation in the indie film space may be the final frontier for deceptive narratives to thrive unchecked. While mainstream and cable news faces increasing scrutiny over bias, independent documentaries often escape similar levels of fact-checking or accountability. If institutions like the Oscars continue to validate this kind of storytelling, then trompe l’oeil won’t just be an art technique—it will become the standard for all creative industries.

PS…My book, “Won’t Be Silent – Don’t Stop ‘til It Matters” was just awarded the BookLife Prize! Read the review!