To embroider a phrase from Mr. J, I weep for my profession when I see that God is just.

It has been made abundantly clear -- most recently, by Mr. Rood of the Chicago Tribune and by the invaluable Joe Galloway of Knight-Ridder -- that these Swift Boat characters are dealing in public lies. The day before, it was the NYT. The day before that, the Washington Post. We've had people outed as Republican operatives, disparaging war wounds they never saw, asserting as fact things they never witnessed, and ultimately calumnizing their own heroism. By all standard measures, this story should be over, and these people consigned to that same Phantom Zone where was dispatched that poor guy who wrote "Fortunate Son" in 2000. Can any fair person maintain that John O'Neill and the rest of the Chuck Colson Flotilla have any more credibility at this point than poor Hatfield had?

However, they live.

Why?

Television.

The print media, God love it, has done so thorough a debunking of these guys that you'd expect to hear a couple of them on Art Bell's program late one night. But because the "issue" and the "controversy" make good television theater, they must be kept alive. Which is why, the next time you see, say, Norah O'Donnell, down by the phony barn on the phony ranch, and she tells you how remarkable it is that the ads are "having an effect" despite the fact that the actual buy was so low, you should feel free to excuse yourself and go vomit in the corner. The original ad contained substantially less truth than the Hitler Diaries, but it was run anyway, over and over again, in news pieces about the "issue" and on argument shows dealing with the "controversy." In other words, television news gave up a substantial portion of its "news hole" this week to information that the people running the news operations had to know were demonstrable lies.

This is what you get. This is what you get when you get bullied by Mr. Murdoch's toy network into running an interview in which a woman makes unsubstantiated charges of rape against a sitting president, and this is what you get when you get played like a tin piano by a decades-long dirty-tricks campaign that culminated in an impeachment, and you couldn't report on the former because you were in the tank to the people bringing the latter. This is what you get when you loan your hard-won credibility to hacks and charlatans. This is what happens when you sell your craft out to celebrity, when being good on television is more important than being good at your job, when unconscionable slander is reckoned as genius because it moves the Nielsen needle. This is what happens when sneering schoolyard invective is reckoned to be actual talent because it comes with a Q rating. (Have a nice day, Tucker.) This is what happens when you run scared. Truth, literally, comes to matter not at all.

And, come Friday, with the Swift Boat ad in tatters in most major newspapers, what did HARDBALL do? It ran a segment attempting to rehabilitate the credibility of Michelle Malkin, a complete fake whose new book on the internment of Japanese-Americans has been stomped into a mudhole by the scholars who have done the real work on her topic, and who had come on the very same program the night before and made an idiot of herself. And who was adjudged to be worthy of being on national television to defend her?

John Fund.

It is to weep.

DANA MILBANK, WASHINGTON POST: Oh, sure. I mean, I think we've been completely used in this by both sides. Just a few dollars, really, being spent in terms of the overall campaign war. In one of these cases, we're talking about an ad that hasn't even run yet, and then we're also talking about a response ad that Kerry put out on the Internet, which they basically spent nothing for, but it's getting attention on all the networks.

So we're completely allowing this whole issue to dominate the news. I mean, part of that's just that it's being August and there's not a lot else going on before the convention.