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?

Yesterday, Andy and I had the opportunity to rap with a handful of UNCG film students, as his former professor (Matt Barr) invited him to present his documentary, reveal his creative process and expose the realities of the distribution game. I tagged along to introduce the possibilities of the web; how it can be used as both a creative channel and a viral mechanism for distribution.

Andy dove right in and introduced the story behind his documentary (Greensboro’s Child) to the students — the ties between the 1979 KKK shootings of five worker’s rights protesters and the unjust sentencing of a civil rights activist’s child to two life sentences for unarmed burglary just 7 years later.

The entire time I sat listening intently to my brother’s passionate presentation, I couldn’t help but notice the amount of times he mentioned his desire to not only go back into the film and improve upon his student-level production techniques (he began the documentary back in 1996), but to continue to document the unfolding story by re-editing the film and updating it with the findings of the Greensboro Truth and Reconciliation Commission.

While I completely understand his intent and agree with the desired results, I just don’t agree with the approach — not in this day and age.

As a blogger and an enthusiast of web/documentary projects like the Echo Chamber Project and The War Tapes, my perspective of an evolving narrative is completely different than Andy’s.

When I think about Greensboro’s Child, I view it as a foundation of knowledge; an element that can be built upon with new elements of video, images and text to create an even broader and more reputable narrative thesis. It’s an impossible goal to continuously include the numerous, ever-evolving tentacles of the story (the Greensboro police department, the community attitude, etc.) within a single 1.5 hour long documentary.

So once the lights came back on and the students finished their Q&A, I introduced myself, a bit of my career history and proceeded to find my zone… Somewhere in the midst of my presentation, I introduced:

• myself as an activist, rather than a designer (a first)
• the possibilities of using cutting edge video distribution channels to introduce their voices to the world, such as youtube, currentTV, democracy
• how a mixture of blogging and video can have a more lasting reach than both tv and film (Rocketboom for example)

By the time my diatribe subsided, I found myself engaged in a conversation surrounding The People, Yes. Once we moved beyond the concept of the collaborative blog for the homeless of Greensboro, we evolved into a conversation about weekly trips into the community to capture the various stories of the underprivileged, on camera, and turning it back around as weekly shorts in a vlog. Heads were nodding left and right as the film students seemed eager to participate in such a project.

So I now have a new angle to TPY… and quite possibly a pool of energetic, dedicated, creative filmmakers to participate in the cause.

While walking off the UNCG campus, I turned around to take in a final glimpse… something, I don’t know what, just seemed different…