Final Countdown Nearing Conclusion

“On January 17, 2009 – NASA’s James Hansen told us that Obama had only four years to save the planet. The clock is ticking, as Obama only has seven days remaining to rescue the Earth.”

If anybody can do it, Mr. Obama can. Still though, it’s all academic, since Al Gore called the game last week.

Speaking of Al, back in 2010, I wrote “Today’s Global Warming Fear-Mongering Is Tomorrow’s Late-Night Camp TV:”

A 1930s scare film such as Reefer Madness was seen as high camp by liberals by the time the 1970s rolled around, as were Jack Webb’s anti-communist efforts of the late ’1950s. But seventies liberals, perhaps spurred on by the title of Alvin Toffler’s 1970 book Future Shock, if not the actual contents, had plenty of fears of their own, and wanted you to share the cold sweat of their own brand of paranoia.

Recall the horrific slate of politically-oriented science fiction films that Hollywood churned out in-between 1968′s 2001: A Space Odyssey and 1977′s Star Wars. Films such as Soylent Green, Silent Running and ZPG were obsessed with the Malthusian nightmares of overpopulation and deforestation that dominated the overculture of the time. Rollerball depicted a world controlled by giant corporations, at precisely the same time that Steve and Woz were cobbling together the first Apples in their Bay Area garage. They were followed by Leonard Nimoy’s cheesy synthesizer-scored In Search Of TV series a few years later, which explored Global Cooling, Killer Bees, Deadly Ants, and other ’70s obsessions.

Today, these ’70s efforts are seen as equally campy as Refer Madness became three or four decades after its release. The eco-doomsday films of the naughts, such as The Day After Tomorrow, M. Night Shyamalan’s The Happening, and Al Gore’s own An Inconvenient Truth are well on the way to becoming late night camp TV themselves, and at much faster rate as their equally schlocky predecessors.

Perhaps someone can recut Al’s film and dub it “Climate Madness.” Maybe hire William Shatner to cut an exaggerated Jack Webb-style parody opening.

Who knows: “Climate Madness” could eventually even have the same impact on its genre as his wife Tipper’s efforts to curb raunchy lyrics in pop music.