connecting*the*dots

(photo by Jesus’ General)

Reuters
ABC Scrambling to Change 9/11 Drama

[…]

Officials at the Walt Disney Co.-owned network said they were still tinkering with the five-hour production, titled “The Path to 9/11,” which is scheduled to air without commercial interruption in two parts on Sunday and Monday.

But ABC declined to say how the movie was being reshaped or whether any changes would address specific complaints lodged by Clinton, his former aides and congressional Democrats that the film contained numerous inaccuracies and distortions.

The Hollywood trade paper Daily Variety, citing sources close to the project, reported the network was considering canceling the miniseries altogether.

The docu-drama, which ABC says is based largely on the official 9/11 Commission Report, opens with the 1993 bombing of the World Trade Center in New York and traces subsequent events leading up to the coordinated suicide hijackings five years ago that killed nearly 3,000 people.

Much of the controversy focuses on a scene depicting CIA agents and Afghan fighters coming close to capturing al Qaeda leader Osama bin Laden in the 1990s, only to have then-White House national security adviser Samuel Berger refuse to authorize completion of their mission.

An unfinished version of the film circulated by ABC to TV critics for review portrays Berger as abruptly hanging up the phone while the CIA is pressing him to approve the raid.

In letters of protest to Disney President Robert Iger, Berger and former White House aide Bruce Lindsey said no such episode ever occurred.

The executive producer of the film, Marc Platt, acknowledged to Reuters on Thursday the Berger scene was a “conflation of events.”

The film also drew denunciations from Clinton supporters for strongly suggesting his administration was too distracted by the Monica Lewinsky sex scandal to deal effectively with the gathering threat of Islamic militancy. Lindsey said the 9/11 Commission Report disputed that notion.

[…]

This is what you get when you try to cash in too early on a national tragedy.

Remember the films JFK and Pearl Harbor? Both films took tremendous license in their portrayals of actual events, but the difference is that they did so 28 and 60 years after the fact, respectively. And while each took accuracy jabs from critics, neither had to deal with this degree of criticism because the emotional scars of the American public had already healed and the people who were on watch during these tragedies were either retired or dead.

With the airing of The Path to 9/11 on the eve of the five year anniversary of the events of that day, we also happen to be stuck, knee-deep, in a war that has been proven to have no relationship to the events of that day. No matter what inaccuracies are found — from either side of the aisle — this production was bound to catch major flack for trying to feed a narrative to a still healing nation, ever so hungry for the truth, not some docu-drama version of the events leading to 9/11.

Who Made The Call To Produce This Film?

In my estimation, there are only two possible reasons why Disney/ABC would give the green light on this production at this time:

1. Karl Rove instructed his minions to write the narrative and convince Disney/ABC to produce the film
2. Disney/ABC is simply gambling on the old adage, “There is no such thing as bad PR”

As a firm believer in the power that human greed wields in shaping our world over back door conspiracies, I’m sitting pretty squarely in the second camp (though I couldn’t help using the above image of Mickey Rove; Gen. JC Christian, Patriot is a genius).

I’m betting that Disney/ABC figured that this would be business as usual, though blown up a bit due to the subject matter; you know the formula — create a controversy, sell the advertising, line the pockets and move on unscathed within a few weeks.

What they didn’t take into consideration is the age that we live in now — where blog reach is both gaining traction in the very same homes that their sugar-coated narrative is being presented, as well as influencing the presentation of popular shows on TV (The Daily Show and The Colbert Report to name a few).

When a passive audience starts to become more active in their digestion of information, these old axioms of capitalism begin to start biting mainstream marketing strategies in the ass.

To make my point, let me perform a few minutes worth of Google research… Okay, I’m back (and my own thesis has shifted somewhat after only 20 minutes). Take this bit of information from HuffPost as an example of how nutritional facts for digesting reality can change a perspective in a matter of minutes:

[…]

In fact, “The Path to 9/11″ is produced and promoted by a well-honed propaganda operation consisting of a network of little-known right-wingers working from within Hollywood to counter its supposedly liberal bias. This is the network within the ABC network. Its godfather is far right activist David Horowitz, who has worked for more than a decade to establish a right-wing presence in Hollywood and to discredit mainstream film and TV production. On this project, he is working with a secretive evangelical religious right group founded by The Path to 9/11’s director David Cunningham that proclaims its goal to “transform Hollywood” in line with its messianic vision.

Before The Path to 9/11 entered the production stage, Disney/ABC contracted David Cunningham as the film’s director. Cunningham is no ordinary Hollywood journeyman. He is in fact the son of Loren Cunningham, founder of the right-wing evangelical group Youth With A Mission (YWAM). The young Cunningham helped found an auxiliary of his father’s group called The Film Institute (TFI), which, according to its mission statement, is “dedicated to a Godly transformation and revolution TO and THROUGH the Film and Television industry.” As part of TFI’s long-term strategy, Cunningham helped place interns from Youth With A Mission’s in film industry jobs “so that they can begin to impact and transform Hollywood from the inside out,” according to a YWAM report.

Last June, Cunningham’s TFI announced it was producing its first film, mysteriously titled “Untitled History Project.” “TFI’s first project is a doozy,” a newsletter to YWAM members read. “Simply being referred to as: The Untitled History Project, it is already being called the television event of the decade and not one second has been put to film yet. Talk about great expectations!” (A web edition of the newsletter was mysteriously deleted yesterday but has been cached on Google at the link above).

The following month, on July 28, the New York Post reported that ABC was filming a mini-series “under a shroud of secrecy” about the 9/11 attacks. “At the moment, ABC officials are calling the miniseries ‘Untitled Commission Report’ and producers refer to it as the ‘Untitled History Project,’” the Post noted.

[…]

Hm… Maybe I was too quick to espouse my faith in greed over conspiracies? I highly doubt I’ll be going to Disneyland again. In any event, the chances of Disney/ABC walking away clean from this beaut of a mis-timed and shady production is slim to none.

The Future Of Market Accountability

As the ecosystem for delivering entertaining, informative and personalized information gains a new foothold of innovation each and every year, we’re becoming deeper and deeper immersed within the information age.

The people formally known as the audience are becoming more politically aware through osmosis these days. And the harder the mainstream, one-way channels are leveraged to message us with constructed narratives, the easier it becomes for us to unbundle the programming and filter fact from fiction — no matter our brand of politics.

An analogy: The addition of nutritional labels to food products years ago didn’t end up preventing obesity, but the presentation of nutritional meta-data sure as hell increased the potential for new forms of viable economic levers within the food industry.

As high-fat foods in the mid-nineties and high-carb foods over the past few years have taken a hit due to greater consumer awareness, low-fat and low-carb products have gained a place in the market at a higher selling point due to simple demand.

My point?

While a conglomerate like Disney/ABC can get away with producing a film with this level of empty calories here and there, as we move deeper into the online revolution, such blatant disregard for nutritious content could easily lead to the collapse of advertising arteries via brand corrosion, as an informed public is now armed with digital printing presses.

And man, is the web chock full of beating hearts willing to pump out blood or what?

Remember the SNL clip, “Lazy Sunday,” where two dudes from the Long Island comedy troop Lonely Island hit the streets and blew up a hip-hop trip to go see The Chronic of Narnia?

I posted about it two months ago with a link to the youtube.com hosted clip, and actually thanked NBC and SNL for finding local talent and participating in the share and share alike culture of Web 2.0. Apparently, NBC really doesn’t get it:

The New York Times
A Video Clip Goes Viral, and a TV Network Wants to Control It

When a video clip goes “viral,” spreading across the Web at lightning speed, it can help rocket its creators to stardom. Alas, the clip can also generate work for corporate lawyers.

As anyone with an Internet connection and a love of cupcakes can tell you, “Lazy Sunday” is a tongue-in-cheek rap video starring Chris Parnell and Andy Samberg of “Saturday Night Live.” NBC first broadcast the video, a two-and-a-half-minute paean to New York’s Magnolia Bakery, Google Maps and C. S. Lewis, on Dec. 17.

Fans immediately began putting copies of the video online. On one free video-sharing site, YouTube (www.youtube.com), it was watched a total of five million times . NBC soon made the video available as a free download from the Apple iTunes Music Store.

Julie Supan, senior director of marketing for YouTube, said she contacted NBC Universal about working out a deal to feature NBC clips, including “Lazy Sunday,” on the site. NBC Universal responded early this month with a notice asking YouTube to remove about 500 clips of NBC material from its site or face legal action under the Digital Millennium Copyright Act. YouTube complied last week. “Lazy Sunday” is still available for free viewing on NBC’s Web site, and costs $1.99 on iTunes.

Julie Summersgill, a spokeswoman for NBC Universal, said the company meant no ill will toward fan sites but wanted to protect its copyrights. “We’re taking a long and careful look at how to protect our content,” she said.

YouTube and others in the new wave of video-sharing sites have so far managed to avoid major legal problems even though they often carry copyrighted material without permission.

“This is an example of the copyright troubles that are waiting for YouTube, Google Video and all the other video hosting services that rely on user-posted content,” said Fred von Lohmann, a lawyer at the Electronic Frontier Foundation, a digital rights group.

Several online commentators noted that NBC’s response to YouTube, while legally justified, may have been short-sighted. The online popularity of “Lazy Sunday” has been credited with reviving interest in “Saturday Night Live” at a time when it is in need of some buzz.

Ms. Supan said VH1 and other television and movie producers were increasingly putting their own clips, trailers and music videos on YouTube in hopes of jump-starting their own viral phenomena.

“We got e-mails from college students, and a lot of them said it’s the ‘Lazy Sunday’ clip that turned them on to potentially watching ‘S.N.L.’ again,” she said.

Exactly. I hadn’t watched SNL in years and that skit actually brought my eyeballs back to NBC. How much profit is enough? Don’t they realize that the viewers who watched the skit the night it aired represented the cut-off point of ROI before the blogosphere, Kazaa, etc. started passing it around? For the last two months, they’ve received extra eyeballs because of the video-sharing, which has put money in their pockets directly or indirectly. This is the thanks we get?

Dumb… like a stump. Instead of busting out the lawyers, why not take these lemons and make some lemonade. Here’s an idea for all of you suits in NBC, CBS, ABC, etc. land:

• Work out a deal with YouTube, Google and whomever else so that you receive a fair cut of the ad revenue from any page with your copyrighted content being displayed
• In turn, YouTube, Google, etc. can evolve their upload interfaces to include a “channel” option
• If I upload something taken from, say, NBC, I simply choose “NBC” in a pulldown menu and upload the video
• Once verified as an NBC property — post-upload — the *additional revenue* of click-through ads goes straight into NBC’s pocket

Multiply this scenario by the potential number of unbundled clips, contributing users and video services over a continuum of expanding users and I think you just might be able to afford that ski trip to Aspen this year.

Asshats.

UPDATE: A Boing Boing reader tells the following story:

YouTube user “aretired” posted a clip from Thursday’s CBS Evening News showcasing Jason McElwain, the autistic highschool basketball player who scored 6-3 pointers in the final four minutes of the game. The video clip shot up to #15 in alltime viewings on YouTube with 1.5 million hits in just three days — then, it was suddenly and inexplicably pulled.

User “aretired” reposted the clip and was again pulled within a day, still no explanations.

CBS sent DMCA complaints for not just that McElwain clip, but all 11 of the user’s other CBS-related clips that had up till now gone fairly unnoticed, by anyone. And, despite their huffing and puffing and pulling over a 2-minute feel-good piece of the year, you can still catch your fill of Oprah, Letterman, Degeneres, Dr. Phil and other CBS content at YouTube.

Do they want us to hate them?