Doc Watch: Fyre Fraud (2019) - the other "Fyre Festival Fiasco" post mortem doc

Watched:  01/22/2019
Format:  Hulu streaming
Viewing:  First
Decade:  2010's

This post will make no sense unless you go back and read my post from yesterday on Fyre: The Greatest Party That Never Happened (2019) , the other documentary about this same subject that was released on Netflix earlier this month.  So, please do go and read it, because I'd prefer not to rehash a lot of what was covered in that post.

After my initial post and exasperation with the Netflix doc and spending most of the post leveling suspicion at the motives of the doc makers, Paul dropped a note to me saying "hey, I think people who are involved with Fyre Fest were involved in producing that doc", which... indeed they were.  Which confirmed all my worst suspicions and made me hate everyone involved even more, but at least made me feel less paranoid and crazy.

Doc Watch: They Shall Not Grow Old (2018)

Watched:  01/21/2019
Format:  Fathom Events at Arbor Cinema
Viewing:  First
Decade:  2010s

It's fascinating to see Peter Jackson turn his eye for detail and technical achievement to the discipline of documentary film-making.  In many ways, They Shall Not Grow Old (2018) could herald a new era of popular documentary as important as the narrative innovations of Ken Burns, which have become the de facto mode for serious historical documentary for those of us who watch PBS.  Frankly, from an historical/ accuracy perspective, I have a *lot* of quibbles with Jackson's approach - but we'll get to that after praising his achievements.

Doc Watch: Fyre - the Greatest Party That Never Happened (2019)

Watched:  01/21/2019
Format:  Netflix
Viewing:  First
Decade:  2010's

(late edit: shortly after posting my initial, pretty visceral reaction to the doc, I got some new info that will show up later in the post.  It's always nice to feel less crazy.  And certainly learning what I did colors and informs literally everything about the doc.  Basically - it may be somewhat true, but it's also deeply skewed and can't be seen as having any journalistic integrity.

While I recommend reading this post first - and watching the Netflix doc first - the post on the Hulu Doc is here.)

I'm no commie, but few things leave me wanting to declare "let's just eat the rich" like the film I just finished.  And not just the subject matter they covered, but the way in which the filmmakers themselves covered it.

The lack of ability to reflect and look at the *source* of the issues around the notorious Fyre Festival is probably the weirdest part of watching Fyre: The Greatest Party That Never Happened (2019), the Netflix documentary that's been grabbing headlines.

At the end of the day, I'm just left thinking:

Doc Watch: "Hal" (2018)

Watched:  12/12/2018
Format:  Amazon Streaming
Viewing:  First
Decade:  2010's

Hal (2018) is a documentary about prominent 1970's film director Hal Ashby, best known these days for, probably Harold and Maude, The Last Detail, Coming Home and Being There.

Rogers Watch: Won't You Be My Neighbor? (2018)

Watched:  09/07/2018
Format:  Streaming Amazon
Viewing:  First
Decade:  2010's

Television Signal - Catching Up: GLOW

We watched a lot of television this year, and in our reduced content mode, we haven't talked about the usual favorites - so just assume we enjoyed both Fargo and The Americans.*

Way back in high school I recall coming home one afternoon and somewhere between TaleSpin and The KareBear rolling into the driveway/ me starting homework, I was flipping channels when I stumbled upon an edition of Family Feud in which the new-ish World Championship Wrestling league was squaring off against a league I'd never heard of - G.L.O.W., or, Gorgeous Ladies of Wrestling.

As colorful as the fellows from the WCW were, I was shocked to find out that there was an all-women's wrestling league and I had never heard of it.

I was never *that* into wrestling.  As a very young kid I was part of the wave that saw Hulk Hogan and JYD and Jake "The Snake" Roberts rise to stardom on Saturday broadcasts, but I'd moved on fairly quickly, watching WWF only occasionally.  But when I was 14, for some reason Steanso, his pal Lee and myself jumped in Lee's car and drove downtown and watched the show - and, man, live - wrestling is @#$%ing bonkers.  Don't let anyone tell you otherwise.  The next year we also attended a taping of an episode or two of regular WWF and NBC's Saturday Night's "Main Event", which was neat just because we saw all the flagship wrestlers of the era.  Yeah, I've seen Hulk Hogan from the 13th row.

But... that was kind of it.

Needless to say, by age 15 or so, the notion of lady wrestlers held some appeal.  And, as I watched what turned out to be a week's worth of episodes, the ladies of GLOW seemed way (waaaaaaay) crazier (and, honestly, smarter) than their male counterparts over the the WCW.

But I don't think GLOW ever aired anywhere I lived, either when I'd just previously lived in Austin, or when I moved to Houston between 9th and 10th grades.  Texas, especially before, say, 10 years ago, was a place where you find strip clubs the size of a warehouse, but there was also a church on every corner - the net result that TV stations probably decided it wasn't worth the letters and complaints from folks getting the vapors from witnessing ladies in high cut leotards jumping off turnstyles.  Believe me, I would have watched the living hell out of that show.  (edit:  Steven has written in to tell me he recalls seeing GLOW air in Houston circa 1987.  I was living in Austin at the time.)

Consequently, I've always had a deep-seeded curiosity about GLOW, but was unable to turn up much the few times I thought to Google it.

Of course, when Netflix announced it was putting out a show about GLOW featuring no less than Alison Brie, heck, yeah, I was in.

Doc Watch: Beware the Slenderman (2016)

I spend some amount of time (read: all of my time) online, and thus was aware, somehow, of the fictional boogeyman, The Slenderman.  It was one of those things that I said "what is that?", Googled it, saw it was a meme sort of thing the kids were into, and went about my business.

The Slenderman was created in the world of online fictional storytelling, and as these things sometimes do, it took off and became an idea that flooded outside of the scary-stories site where The Slenderman first appeared.  A quick Google search will turn up thousands of hits.  He's an otherworldly figure who haunts children once they become aware of him, and will either murder them or befriend the most pitiable (I think).

In 2014 a new story broke out of Waukesha, Wisconsin that two 12 year-old girls had lured their friend into the woods and then attempted to stab her to death in order to impress/ appease "The Slenderman", which... to an adult sounds a bit like committing attempted murder to appease a movie or television character like The Cryptkeeper or something.  I don't want to belittle any of this, because two little girls really did have some sort of break and a third was gravely injured and will no doubt suffer longterm effects, but as someone well beyond the age of the girls who made this decision and with a "I existed before the internet" point of view, it's very hard to imagine the world that created this tragedy.

The HBO Documentary Beware the Slenderman (2016) dissects the scenario that led to the incident, looking into the world of the girls, what's online and how they related to it.  Honestly, I don't think I've ever seen a doc that had this sort of access to the parents of perpetrators of an act like this who were clearly involved and participating in the film within a couple of months of the girls' incarceration and into the trial.

Doc Watch: Tower (2016)

About thirty minutes into Tower (2016), I realized that the soundtrack to the film included the ever-present sound of cicadas, a tree-dwelling insect which emits a steady humming that all Central Texans know as the droning background noise of the hottest days of summer.  I'd tuned the sound out the same way we all do, and I began to realize part of why the film felt so immediate - and why the film is so effective.  What the film captures is very real, from glimpses of the University of Texas campus to the sound to the casual chatter about campus life, torn apart on August 1, 1966.

I'd wanted to see this film from when the producers first released footage maybe a year ago.  Then friends saw it as SXSW and had positive things to say, and I was encouraged that the documentary would do the event whatever justice could be done.

Doc Watch: Vampira and Me (2012)

It's nothing like news that a lot of folks' personal Hollywood stories end badly.  For many a-starry-eyed actor, all the positive thinking in the world doesn't mean financial or personal success.  Exploitation of hopeful people (and their ideas) is woven into the fabric of show business at such a deep level, it's more or less S.O.P.

At some point, you start to notice that actors have a limited shelf-life in Hollywood.  As the years pass, those talented girls you found so attractive in movies just stop appearing in anything, even though they were kind of a big deal and in quite a few pictures for a stretch there.  The birth of IMDB really brings the idea home if you do what I do mid-way through most movies and start checking up on actors you're enjoying in a movie but haven't seen in much else - where did they go?  There's almost always a petering out of roles and then *poof* some final role and then nothing.  They threw in the towel rather than play yet another character called "So-and-So's Mom" or the equivalent.  Some go on to other lives (Justice Bateman just got her CS degree.  I mean, talk about a kick-ass second chapter), some marry well, and some - even screen legends like Veronica Lake - have sad, obscure ends that don't ever seem to get remembered.

But that's not the sort of Hollywood messed up story that Vampira and Me (2012) tracks.  That's a story of illusion, delusion and the disposable nature of fame for (especially) female actors when a dream is realized in part, but is taken away.  

It's hard to call the movie a documentary, exactly, and it certainly isn't journalism.  It feels like a bit of a memoir, an apology and a posthumous plea for sympathy for a third-tier icon most people have never heard of or forgotten about except as a shadowy Halloween-type bit of imagery not associated with anything in particular.

Doc Watch: Darkon (2006)

When I was in high school, I'd quit playing officially sanctioned sports about 3 games into the basketball season my sophomore year (that's a whole other story, but let's just say - that was my first experience in recognizing an adult had no idea what they were doing).  I was kind of between activities at one point, and somehow heard about this thing where people were hitting each other with foam swords and shields - Society for Creative Anachronism.  I briefly considered getting involved - I mean, who doesn't want to smack someone with a sword? - but then had a thought that maybe this was not going to be the thing I would do, even if it were fun.  It sounded like something that would start off exciting and then devolve into nonsense.

Watching 90 minutes of the 2006 documentary film Darkon has not cleared up much of how that would have gone for me.

Darkon (2006) follows the better part of a year of an intricately designed and played Live Action Role-Playing game (aka: LARPing) and the lives of the folks who partake in the... activity?  Lifestyle?

"Darkon" is the name of the fantasy continent inhabited by the players of the game.  They keep a map of spaces broken out into hexes (a common sight to anyone who played table-top RPG's) and battle in real-space for those hexes with a set of seemingly well-agreed upon battle rules.  Armies of folks representing nations (armies seeming between 15 and up to 75 people) whack at each other with foam covered weapons and an array of objects meant to represent everything from catapult missiles to wizard-cast "fireballs" or, more infamously, "lightning bolts".

The players take on characters - lots of Lords of Realms and whatnot.  Magical beings.  Wizards.  If it showed up in a fantasy novel in the past 40 years, it's probably something someone is pretending to be.

Video for "Closer Than We Think" doc

Closer Than We Think from Clindar on Vimeo.

I was sent this video by pal-Andrew (Jamie's brother's wife's brother), and now I totally want to see this video. It's a documentary being made about Arthur Radebaugh and his sci-fi futurist strip, "Closer Than We Think". This hits so many positive buttons, I sincerely hope this film is made and gets a release.

For more on Radebaugh

The official website
Indiegogo site

a blogspot site
From the Ohio State Library
Paleofuture at Gizmodo

Doc Watch: Electric Boogaloo - The Wild, Untold Story of Cannon Films (2014)

I started watching this doc thinking I'd make it maybe 15 minutes in, get bored, and move on with my life.  But, really, my primary complaint about the film is that it seems like it could have run an additional 30 minutes or so, delving into more of the impact of Cannon Films on popular culture and where the movies found their audiences, and not ever felt like it was running long.

Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014) is exactly what you see in the title.  It's a doc about the rise and fall of the independent movie studio responsible for an ungodly amount of the types of movies suburban kids consumed by the truckload back in the 1980's - particularly when our folks were off doing other things and not paying much attention to what we were watching.  Cannon was responsible for just a tremendous number of movies of all genres, and for a kid back in the 1980's, it was pretty typical to go rent a movie, come home, throw it in the VCR and see the Cannon logo scroll out before you.

The basic hook of the movie is that Cannon was fast, cheap and out of control.  They were making movies fast and furious, producing what they assumed was crowd-pleasing stuff, leaving decorum, taste and craftsmanship behind as they raced to give us an endless supply of films loaded with violence, nudity, ridiculous plots and a way to kill a couple of hours on a Saturday night.  They gave us everything from Breakin' parts 1 and 2 to The Last American Virgin to American Ninja to Bolero to Invasion USA to Masters of the Universe to Over the Top, and dozens and dozens of movies in between.  If you're over the age of 35 or so, it's highly likely you raised yourself on a steady diet of their output running on cable or from the local Mom & Pop video rental shop.

Doc Watch: David Bowie - Five Years (2013)

This week I recorded David Bowie: Five Years (2013) off PBS and gave it a whirl after Jamie retired for the evening.

If I have one complaint about the doc, it's that the whole "Five Years" bit gets away from itself as the documentary tries to claim its about five specific years in Bowie's career, but really spans better than a decade between 1971 and 1983, and while they try to stick to five years of those twelve...  it's sort of distracting.  Just call it "Golden Years" and get on with it.

But, if you get past that minor hurdle, it's a pretty good doc, giving a history of a transformative period in Bowie's career from Hunky Dory to the Let's Dance era.  It's a great mix of interviews with producers, musicians and the occasional pundit (Camille Paglia) talking about the period, so if you want to see Eno talk Low, Robert Fripp talk about working on Heroes, this is your doc.  Nile Rodgers talk about China Girl?  Tune in.

The doc, released in 2013, wondered aloud about the sudden arrival of The Next Day and seemed to have Bowie's participation, not showing his face, but using audio and visual interviews from the past to piece together the story.  And, sadly, this version contained a very quick coda with birth and death dates for Mr. Bowie.

The primary concern of the doc is tracing the musical evolution/ transformations of Bowie, tagged to his personas associated with each album from Ziggy Stardust to The Thin White Duke - but none of that really takes into account the personal changes going on aside from fame and drug use.  Bowie had children, a wife, a movie career and a lot else going on, but remains laser focused on the music, which is narrow, but an acceptable angle to approach.  It keeps Bowie at that arm's length he always seems (to me), but it leaves massive gaps in a narrative of Bowie's life writ large.

Still, I enjoyed it, and would recommend it for fans looking for a bit of what went into the albums of the era, hearing from the collaborators who were putting in blood, sweat and tears alongside the man.

Doc Watch: The American Experience - Murder of a President (2016, PBS Doc)

James A. Garfield.  He wore his beard honestly.

I don't watch as much of American Experience as I once did.  I actually go to sleep from time to time these days, so that leaves less time watching TV, I guess.  But when I heard The American Experience, PBS's long running documentary series on key events in American history, was making a doc based on Candice Millard's book, Destiny of the Republic (I believe suggested to me by Picky Girl), I had to check it out.

This week's episode, Murder of a President, covers the assassination of President James Garfield.

Yes, it's a case of "the book was better than the movie", but there was never any way a 2 hour doc was going to convey all the story Millard was able to get on the page.  And, while the doc does try to capture the true tragedy of the murder, I didn't feel hollowed out in the same way that I did by the time I finished Millard's book.  In fact, I teared up a few times getting through the book. Pretty remarkable for a non-fiction accounting of a President nobody talks about anymore.

Nonetheless, the doc is terrific and does a good job of understanding and translating Millard's work, and that of other historians and archivists detailing the story.  You can watch it now on the PBS website.  

Superman Watch: The Death of "Superman Lives" - What Happened? (2015)

Of course in Superman nerd circles there was a lot of noise about the documentary The Death of "Superman Lives" (2015) when it was going around on Kickstarter and other fundraising sites.  It's a film about the failed 1990's Jon Peters produced Superman movie, a flick that never quite made it into production and has, in recent years, achieved a sort of legendary status among nerds as "wouldn't that have been awesome?" sort of project.  Most of this opinion is garnered from 20 and 30 somethings who only know Nic Cage from the post Con Air era, and think of him as the "not the bees!" guy who makes shitty action movies and has a seemingly absurd personal life.  They do not know the Leaving Las Vegas Nic Cage or the Adaptation Nic Cage or even the Wild at Heart Nic Cage.  It seems impossible most have seen Moonstruck.

Way, way back in the mid-90's when the project was in pre-production, I was of the solid opinion that: No.  This is not going to be awesome.  And, in 2016, I stand by that same notion.  Much better to look at the art produced and hear people talking about what could have been than get dragged through a movie that could have accelerated Superman's loss of cachet in the pop-consciousness and, who knows?  Could have prevented the entire cycle of superhero movies we've enjoyed since X-Men and Spider-Man back 15 years ago.

Hats off to this very small production for landing interviews with big names associated with the project, from legendary producer Jon Peters to Tim Burton to Kevin Smith and a host of crew members (who are still passionate about the work they did), and a few comics luminaries including an intro with Grant Morrison summing up Superman in a few sentences.

Doc Watch: I Am Big Bird - The Caroll Spinney Story (2014)

If you want to watch a movie that will make you just kind of tear up for no reason over and over, I recommend the 2014 documentary I Am Big Bird: The Caroll Spinney Story.

As you'd expect from the many context clues above, this is a documentary about the guy who has played Big Bird on Sesame Street since the character first wandered onto the show.   He also (and I don't know how this works) plays Oscar the Grouch.  So, there you go.  A guy you never heard of is the heart and soul of the show literally every one of you people loved as a kid.

Doc Watch: American Movie (1999)

Fist things first:  as regular readers may know, one of my two undergraduate diplomas from Ye Olde University of Texas is in Communications, where I was in the Radio-Television-Film Department, and happened to be one of the lucky stiffs who went through the "Film Production" track.  Which was kind of a big deal, at least to me, as they only let in a handful of students into that track every semester.

Here, you can see my first experience shooting 16mm.*  And you get special appearances by our own JAL, occasional reader and longtime pal Shoemaker, and Kerry, who wound up selling me the very house I live in today.  Thanks, Kerry!  (she doesn't even know about this site, so, whatever).  Oh, yeah, and Michael in an alien suit that he already owned.  Because, you know, Michael.

The documentary, American Movie (1999), stirs up a lot of very specific feelings for me when I give it a whirl - something I don't think I've done in 15 years.   If you've not seen it, it's the very real story of a filmmaker from Wisconsin who has a dream of making a horror movie called Northwestern.  Mark Borchardt, the film's main subject, is a high school drop out, he probably drinks too much (and, I think you can infer that drugs were or are also involved somewhere in the picture), barely holds together a job as a newspaper delivery man, is split from the mother of his three children, is 30 and lives at home with his dysfunctional parents.

Despite a lack of any formal training, a lack of experience on any other films other than his own 8mm projects, and a seeming inability to project manage himself whatsoever, Mark remains focused on the dream of finishing a movie.  Maybe.  Just maybe not Northwestern.

The movie uses the "aspiring filmmaker" as the excuse for really getting to know Mark, his family and friends, his corner of the world.  The film takes a look at what the American Dream means to a guy like Mark and his friends, guys from middle class families in middle America, folks for whom things haven't really panned out by the age of 30, and for whom it doesn't look as if things are set to improve a whole lot.

In a country built on the promise of opportunity, what does that really mean when the dream is creating a movie?  And, really, what's the dream behind the dream?

Trailer for "Tower" doc looks pretty amazing

.

I grew up in Austin, TX, attended the University of Texas and recently received my "ten year pin" for my time working at the University (I haven't quite spent my whole career there).

If you aren't aware, after killing his mother and wife, Charles Whitman climbed to the top of the tower at the center of the University of Texas campus - a building which is over 27 stories - and killed people on the stairwell and then began shooting from the observation deck.

Whitman killed 16 people (in 2001, a 17th died of complications for injuries sustained that day), and more than 30 additional people were wounded.

At the time, Austin was a sleepy college town in the middle of a long, hot summer, and summer session is never the busiest of times on campus.   The impact was devastating, and the shootings were still discussed and an impetus for campus policy when I was there in the 1990's.

Watching just the trailer, I was surprised that my reaction was genuinely visceral.  I've been up in the elevator, I've stood on the observation deck, I walk across the plaza routinely, and those are all places I live and work.  And I am well aware all of this happened here.  And could happen again tomorrow.  After all, we had an active shooter in my building just about five years ago.

The after effects of the tower shootings were larger than you'd believe.  The event helped lead to the establishment of campus PD's across the country as well as SWAT team development.

This film looks to cover the personal stories of the victims, and I'd rather that be told than another step-by-step recounting of Whitman's final days and hours.  Good people were caught in the massacre, and it's important to remember all of them as well.

Looking forward to the film.

Doc Watch: Salesman (1968)

Salesman (1968) is one of those films that got referenced a bit in texts I had back in film school, and has certainly endured, but not with the same level of notoriety as the Maysles Bros. most famous film, Grey Gardens.  But, dang, if this isn't a pretty amazing bit of film.

A documentary following a team of door-to-door Bible salesmen working first in New England and then in Florida, it feels like the predecessor to not only reality TV shows covering people at work (and I don't mean "unscripted" shows, but the more documentary approach that seems to have fallen by the wayside) but also to the world of films like Glengarry Glen Ross, complete with the archetypes that would fill that movie and others like it.

You can't figure why some guys can close a sale and some guys can't, and you're always asking people who don't have money to hand over what they've got for something that's a luxury item, or at least maybe not a practical necessity.  In this movie we're seeing Bibles going for $30 - $50 in 1968, when the customers on camera are obviously doing the math regarding what the impact of the expense will have on the weekly budget.  They aren't in the homes of high-rollers, they're in middle to lower middle-class homes of working people of the era.

The salesmen are selling the book of faith, but the religion is the sale.  The supervisors expect sales slips, they don't want any backtalk, and they gladly point out how they've cleared out a few people for their attitude alone.  At night in depressing motor-lodge rooms, the salesmen come back to drink and smoke and sort out what's happening - they require the faithful as a customer base, and they know what buttons to push, but they're not selling with the zeal of evangelists - they're looking to see what it will take to put you into a new Bible today.

The movie is a fascinating record of a particular time and place and what people were like.  But it remains relevant as the pressure to produce, to deliver of anyone who ever had a job, and you see how different personalities approach the same problem with varying results - but there's no real clarity to why "The Bull" succeeds where "The Badger" can't get a break.  The desire to get ahead and to dream of doing well gives way to worrying about survival in a world where success or failure are mercurial even to the people in the thick of things.  

It's powerful stuff, and neither begins nor ends neatly.  I can't really recommend the movie enough.  Give a chance if you have the opportunity.

Doc Watch: Wonder Women! on PBS

On Monday, I watched the documentary Wonder Women! The Untold Story of American Superheroines on the PBS series Independent Lens.

If you were expecting a documentary about the importance of Wonder Woman to 20th and 21st Century females as a symbol of power for women, you were in the right place.

You can watch the whole thing online at the moment.  Here you go.

For those of us who are already fans of the character, it's a nice tribute to the character, a nice consideration of the influence of the character across the 20th century, but the doc was also a bit frustrating.

The documentary was a good starter kit for someone to consider pop culture touchstones as gateway drugs for empowerment for women and a place to start the discussion of media portrayals of women.  But, if you know your Wonder Woman (and I only kind of feel like I've scracthed the surface of the character), the film followed the prescribed narrative checklist of players and topics you'd get in talking about Wonder Woman's history if you were to talk on the subject for more than five minutes.

We got:

• William Moulton Marston's creation of a lie-detector and his hang-ups on bondage scenarios are touched upon
• Glora Steinem talks the first cover of Ms.
• Lynda Carter gets interviewed (and is still just as stunning)
• various academics are interviewed who talk about what it means to have a strong female character at the start of World War II
• Wonder Woman's second tier place in comics after WWII