I have to imagine that this little propaganda number was put together by the anti side rather than the pro side:
You don’t agree with this program? No pressure . . . we’ll blow up your kids. James Delingpole thinks it’s great (but not for the cause it supposedly represents):
But with this new monstrosity, truly the great Richard Curtis has excelled himself. It’s so bad, it makes his previous shimmering masterpieces of emetica – Love Actually, The Girl In The Cafe, The Boat That Rocked – look like Battleship Potemkin. It makes the Vicar of Dibley look like a collaboration between Oscar Wilde and Shakespeare. It’s so deliciously, unspeakably, magnificently bleeding awful it makes you wish that the man could be given a ticker tape parade in every major capital city, in gratitude for the devastating damage he has (unwittingly) wrought on the eco-fascist cause.
Update: Apparently, James isn’t the only one who thinks this is sending exactly the wrong message — the campaign is trying to recall the clip:
That, at any rate, is what they keep trying to do — cancelling it whenever it appears on You Tube, pulling it from their campaign website and so on.
Unfortunately their efforts are being frustrated by people on the sceptical side of the climate debate, who keep peskily insisting on reposting the video where everyone can view it. And rightly so. With No Pressure, the environmental movement has revealed the snarling, wicked, homicidal misanthropy beneath its cloak of gentle, bunny-hugging righteousness.
I don’t think any of us will ever be able to look at another Richard Curtis movie in quite the same way ever again. It may even be that we will now never, ever be able to enjoy another episode of the Vicar of Dibley, because all we’ll be able to think about is Dawn French with a Panzerfaust beneath her cassock ready to blast off the heads of any members of her congregation who don’t believe in Man Made Global Warming. What a sad day this is for us all.
Update, the second: Iowahawk thinks this may well be a great subject for a Harvard Business School case study. Using the principles of “new journalism”, he carefully recreates the situation, constructing dialogue to fit the theme:
London, sometime earlier this year: The 10:10 Project, a nonprofit NGO focused on reducing carbon, convenes a high level meeting in their posh modern conference room. After reviewing PowerPoint on the results of their latest government grant proposals and white-liberal-guilt fund raising campaigns, the 10:10 marketing team reports that previous communication efforts have not been proceeding as expected.
“Perhaps what we need is a fresh new campaign,” offers one of the conferees. “Something different, provocative… something edgy. Something that will really get our message across.” This is greeted with great excitement. The finance director pours through spreadsheets and identifies a budget source. An executive screening committee is appointed who develop timelines and begin scheduling meetings with London’s top agencies and independent film production firms.
Several weeks later, after sitting through a half dozen agency presentations that have yet to meet their standards, 10:10’s highly paid executive brain trust arrives at a meeting at the sleek offices of London’s hottest agency Splodey, Youngblood, Gutz & Bones. After introductions, small talk, and pastries, SYG&B’s creative director — winner of 5 British Clio awards — strolls confidently to the television monitor at the front of the room and walks the 10:10 clients through a scene-by-scene video storyboard pitching a new promotional mini-movie that will solve their communication dilemma. The smoothness of the presentation masks the hundreds of late night man-hours and debating the SYG&B creative department spent in crafting it — but it was worth it.
“Brilliant!” exclaims the 10:10 executive committee chair, to the enthusiastic nods of his colleagues. “Add one more exploding child, and I think we have a winner.”
Read the whole thing, as they say.