This week, the rehabilitation of the most extreme of the New Left groups — the Weather Underground — entered a new stage.
Yesterday, the New York Post revealed that convicted felon Kathy Boudin — who was released from jail a decade ago after serving 22 years for her role as getaway driver in a deadly 1981 Brinks truck robbery — was given the position of adjunct professor at Columbia University’s School of Social Work.
At the same time, Boudin was also(!) given a position held concurrently at New York University, where she was appointed Sheinberg Scholar-in-Residence. She recently gave a lecture for that program on “the politics of parole and re-entry,” something which she obviously knows about.
There are, of course, many other candidates who could have been given both positions, and none of them were part of a leftist terrorist group whose action resulted in the death of the first African-American police officer in that area, and two other police officers. Two of the three had families; children grew up without their fathers.
When she was pulled over, Boudin shouted to the officers whose guns were drawn: “Put the gun back.” They put their revolvers in their holsters.
At that point — as the officers went to inspect the back of the van she was driving — her cohorts came out with weapons blazing, killing the two policemen and one other who had joined in pursuit.
Boudin was never repentant.
As David Horowitz points out today at NRO:
[Boudin is a] murderess who betted the cold-blooded massacre of three law-enforcement officers, including the first African-American on the Nyack police force; a woman whose actions left nine children fatherless and who has shown no genuine remorse for that.
Seeking a Friend for the End of the World stands as one of the most creative scripts produced in 2012. Steve Carell and Keira Knightley play an odd couple united on a quest to reconnect with their respective pasts before a meteor destroys all life on Earth. Dramatically deviating from the clichés of the disaster genre, Seeking a Friend presents a doomed humanity that takes the apocalypse fairly well. While including requisite scenes of panic and riot, the film’s characters strive toward some sense of relationship in their final days.
We too seem to be taking the apocalypse pretty well. Our world hurls toward its scheduled end on December 21st according to predictions based on the ancient Mayan calendar. It’s something folks like Art Bell, George Noory, and their overnight talk radio guests have been warning us about for years. It serves as the subject of several books, a keyword of countless websites, the inspiration for a variety of B movies, and the premise behind Roland Emmerich’s consummate disaster film titled simply 2012. After years of hype, the date approaches. Yet there is a conspicuous lack of panic.
The smart money bets on the continued survival of both humanity and our planet. As my friend and PJ Media colleague Sunny Lohmann recently quipped on Twin Cities News Talk, the only thing sure to come beyond the winter solstice is more daylight. Predictions of Armageddon have an impressive failure rate.
Be that as it may, we should not completely dismiss the potential for a kind of apocalypse. No, I don’t mean the fiscal cliff, Obama’s second term, or an imminent economic meltdown. I’m talking about an apocalypse of the kind which has come many times before, a moment in history when a culture unravels under a development so overwhelming that established institutions pass into ruin. Think of the Aztecs and their encounter with Spanish conquistadors. They scurried about, minding their own business, when the white man arrived to unmake their world.
At a moment like that, two things happen. Newly introduced technology bowls over indigenous methods, and a new way of thinking transmits through that technical superiority. That kind of apocalypse, one which reforms our world and thus destroys our way of life, looms not only possible, but anticipated.
‘Miserable Failure’: Michael Moore Admits His Plan to ‘Democratize’ Best Documentary Oscar Just Made Problem Worse
Those new rules, as first reported on Deadline at the time, changed the nomination voting process. Instead of several groups of small mysterious committees each watching a set number of films, the whole documentary branch now has the opportunity to see and vote on every eligible film. Then final voting is opened up to the entire Academy to be pick a winner — just as they do on Best Picture and other categories. The new rules also attempted to trim the number of entries, specifically targeting films not really meant for theatrical release by requiring a one-week run in New York and Los Angeles as well as a review in either the New York Times or Los Angeles Times. This was seen as a way to discourage TV documentaries or vanity projects from getting into a race designed for movies that are truly meant for theaters first. HBO was a culprit, and now others are jumping into the docu world including today’s announcement regarding a new documentary unit from CNN.
The new system hasn’t worked out the way its main architect, Oscar-winning documentarian and Academy Doc branch Governor Michael Moore, envisioned, and he is the first to agree at least part of it has been a disaster. “I told them (the Academy) to use that word”, he said. “It’s a miserable failure.” Moore, who serves with co-governors Rob Epstein and Michael Apted, said this after branch members, who had already received a steady but manageable stream of movies to view on DVD through the first 9 months of the year, suddenly had about 80 new titles dumped on their doorsteps with only a month to go before ballots for the first wave of voting are due. The list will be whittled to 15 semifinalists in November followed in early January by the final five nominees sent to the entire membership. Moore during the last week has floated some ideas of strengthening the rules, but after talking with Academy CEO Dawn Hudson and COO Ric Robertson this weekend, he is thinking the best idea may be to go back and not have any rules (other than the standard ones imposed by the Academy) and to put the special-needs documentary branch on even footing with other Academy branches.
He agrees something went terribly wrong with the process this time.
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