Any design hypothesis attracts hordes of trolls. So I asked Walt the obvious question, “Would you guys have made the film if you knew how much trouble it was going to be?”
His reply was, “Yes, and we would have done it differently.”
No doubt he would. The Darwinists have all the pop science journalists on auto dial. They need only ring them up and bitch. Indeed, that is precisely what Richard Dawkins did. One might have expected a professor of the public understanding of science (Dawkins’s most recent job) to prefer a life in science rather than in soap opera, but people do what they can, not what they can’t.
For me, the big question is, why didn’t Walt Ruloff know all this? Why didn’t he talk to anyone who could tell him what everyone knows: Legacy media simply cannot give a fair hearing to the question of whether design is part of the makeup of our universe.
Hundreds of sniffy film critics had to enter the fray against his film, no matter what it was like. . They don’t know anything at all about the science, but they do know that there is no design in the universe. It was interesting and instructive to note that many critics made use of anti-Expelled resources supplied by the Darwin lobby. Showing the flag, I guess.
In later posts, I will comment in more detail on the role of legacy media in preventing informed discussion, but for now briefly: The dying establishment media were not always the red ink-a-sauruses we see today. They were once young and vibrant. Of course, they grew up with and imbibed materialism, often the crass know-nothing materialism that underlies pop science media articles like this one, the target of much well-justified criticism. But the people who honestly believe the worldview that underlies such articles know that they are justified in asking no questions, and assuming that Ruloff and Ben Stein “must” be lying. And plenty of boozy wakes for dead ideas await them.
So, of course, Ruloff’s film – while it did reasonably well in sales (#5 in political documentaries and #6 in DVD documentaries as I write this, 8:48 am EST) – was trashed by “cool” critics, including many Christian ones.
Legacy media careers depend, in part, upon the fraud that “science” (however we define it) is about hard facts and that “faith” (however we define it) is about pleasant fictions. I have little doubt that if I got together a crew and made a film about a born-again prostitute who hooks for Jesus – and it was technically competent – legacy media Christian journalists would praise it cautiously as “breaking new ground.” If I revealed afterward that I had done that only in order to lure them into praising such a perverse work, they would continue to defend their judgement, just as Darwinists continue to defend the “Gentlemen Prefer Blondes” evolutionary psychology hoax.
Materialism holds that the mind is an illusion, so truth, falsehood, and nonsense can all defend it equally well, but suppressing alternative evidence and coopting those who wish to dissent safely is by far their best policy.
But all this merely focuses my main question: Why didn’t Ruloff and his team know what so many tried to tell them. Sensing I wouldn’t get a direct answer, I asked him instead, “What would you have done differently, had you known how things would turn out?”
He told me,
The biggest thing that hurt us was when Yoko Ono sued us. The film was released Friday, and we were sued Monday.
It really caused a lot of problems for us, to support the movie in the theatres. Her object was to get it out of the theatres. I think it was ideological. She was approached by people from about ten Darwinist organizations.
Prior to actually releasing the film we did a huge amount of work with a legal team make sure fall under category of fair use – we went the extra mile. So when she sued us, she very much knew that we were using it under fair use.
As it was, Ruloff explained, his team had to put all its resources into fighting her, instead of fulfilling the marketing plan – which is precisely what the Darwinists had planned. Indeed, during the film’s launch, I simply could not get intelligible answers to two questions: Why was so little information provided about why there is an intelligent design controversy, and why was no effort made to rally people who would gladly go to see the film?
Ruloff was clearly upset by my questions and all he could offer was “We were just not prepared.”
And I do not think that is his fault, either. Both he, and the people who unwisely advised him that it was okay to risk Yoko Ono, are discouraged from understanding what happens when one uncovers evidence against materialism. So even when they are making a film about it, they don’t get it.
In gross sales, the film was almost in the top ten and Ruloff reckons that had he been able to support it, he could have made twice that. Unfortunately, by “support” Ruloff seems to mean advertising. That’s too bad; increasingly, advertising is the least bang for his buck, compared to viral marketing – where almost everyone is transmitting the message for free, in the same spirit as they whistle pop tunes. I heard from many people who would gladly have worked for free to support the film. But no leadership coming from the Expelled team enabled them.
For now, Ruloff is just taking a break from the frenzied pace of production and marketing, but he is planning new projects, including another film that supports and advances the design inference in nature. I hope that he hires people who can advise him how to promote a film in today’s InterWeb environment – and how not to.