At Big Hollywood, James Hudnall has a Climategate-related question. He asks, “What Will Television Do With All Their Scare-Programming?” Read the whole thing; there’s too much for me to quote to do it justice. But here’s the pith of the gist of the marrow, as James Lileks might say:
But two things happened last year that shot an arrow in the heart of the beast; one of the worst winters on record and Climategate. And the hits keep on coming. Now it turns out that NASA, who claimed for years that their data proves Global Warming is real, was actually just using CRU data all along. And the CRU couldn’t back up any of its data. In fact, they “lost the records” when they were forced to produce them. Oops!
So now these news channels who’ve been trumpeting the story as fact, all those cable networks who spent millions on documentaries hyping it, all those TV shows hawking green as the in color; they all look like fools. Or worse, they look like they were in on what will go down as one of the biggest scams in human history.
What would you do if you were in their position? It’s not hard to understand why they’re carrying on like Climategate never happened. They have a president in the White House as clueless as they are, pushing the Cap and Trade agenda as if those darn glaciers are just about melted. We have to do something fast! Not a moment too soon, kiddies.
The climate scam is worth trillions of dollars and who knows how many millions, if not billions have been spent to win over the public. Too bad the public is losing interest fast. People are increasingly saying it’s all made up or at best, exaggerated. You can’t put toothpaste back in the tube. The proverbial genie is out of the bottle, The cat has left the bag. There’s no going back to the lies and spin. But our friends in the media are still living a lie. It’s like they threw a party and only their mom and a few friends showed up. What was once a hip thing to be a part of, like smoking, is fast becoming a loser tattoo on their foreheads.
The public’s trust is evaporating and it’s not helping that many in the media are circling the wagons. As their ratings drop and their Nielsens tank, as the suits upstairs start laying off staff, they’re going to have to deal with reality. Something they’ve tried to deny all these years. Yes, folks. The warm-mongers are in fact the deniers.
The economy is in a down-spiral. Telling people they need to cut back is like rubbing salt in their wounds. Promising them “green jobs” is like telling a 40 year old Santa Claus is coming to town.
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.
Related: Zombie observes some camp Malthusian performance art on the Streets of San Francisco, here.