I’m just having a quick whip-round to which I know many readers will be eager to contribute: it’s to raise money to help Olly Robbins begin a new life in Belgium.
Robbins, as you know, is the senior civil servant — Theresa May’s chief Brexit adviser — who has done so much to try to help ensure that Brexit doesn’t happen and that Britain remains stuck in the European Union till the end of time.
Now we know why: it turns out Robbins’s secret ambition is to live at the very heart of the EU project as a Belgian citizen.
We learn this from a BBC4 behind-the-scenes documentary about Brexit seen from the perspective of the EU’s negotiators.
The Global Warming Policy Foundation (GWPF) has made a formal complaint to the BBC about the series of gross inaccuracies in its recent documentary Climate Change: The Facts. As wags have quipped, the programme presented by Sir David Attenborough was so riddled with errors it really should have been called Climate: Change The Facts. Now the GWPF has written to the BBC Complaints department listing just a few of them. The letter can be read here.
According to the GPWF, the programme “went far beyond its remit to present the facts about climate change, instead broadcasting a highly politicised manifesto in favour of renewable energy and unjustified alarm.”
The Glaswegian faux-thug now makes his living not by pushing boundaries but by enforcing their limits.
‘I spend a lot of time helping teenagers who’ve been sexually abused…’ — beat — ‘…find their way out of my house.’
You’d scarcely imagine, listening to Frankie Boyle now, that this was the kind of joke he was telling on TV as recently as this decade. I wouldn’t believe it myself if I didn’t have written evidence of it, in the form of a 2011 TV review of his now-forgotten shocker of a Channel 4 show, Tramadol Nights.
The increasingly unwatchable and slavishly woke BBC plumbed new depths last night. It gave a prime time slot to a piece of environmental propaganda so blatant, shameless, and dishonest it might just as well have been a political broadcast on behalf of Extinction Rebellion.
Even the programme’s title was a lie.
Climate Change: The Facts was a farrago of alarmist cliches, exaggerations, and untruths which have been debunked on numerous occasions.
It lied about the cause of wildfires; it lied about heatwaves; it lied about storms and floods; it lied about polar melting; it lied about sea levels; it lied about coral reefs; it lied about droughts.
Plus: was Fleabag really profound and true? Or sententious, hormonal, millennial drivel?
If you liked Triumph of the Will, you’ll love this latest masterpiece of the genre: Our Planet. The Netflix nature series exploits the prestige, popularity and swansinging poignancy of Sir David Attenborough to promote an environmental message so relentlessly dishonest and alarmist it might have been scripted by the WWF.
‘Walruses committing suicide because of global warming.’ That was the nonsense from episode two repeated uncritically by all the newspapers, none of which seems to have been much interested in questioning the veracity of the claim. You’ll never guess what it was that really drove those walruses over the edge of the cliff… Ironically, the likely culprits were polar bears — that supposedly threatened species whose population has grown exponentially in the past 50 years to the point where they are now beginning to become something of a pest.
Sir David Attenborough, doyen of wildlife TV, has been accused of manufacturing ‘tragedy porn’ after misrepresenting footage of walruses plunging to their deaths over a cliff on his Netflix latest nature series Our Planet. The show’s footage of ‘desperate’ walruses clinging to the cliff top before tumbling hundreds of feet onto the rocks below attracted widespread publicity.
Yesterday I gave you one reason to hate the BBC: its outrageous treatment of Tommy Robinson. Here’s another: its relentless lies about climate change – such as its recent bullshit claim that:
“…since 2005 the number of floods across the world has increased by 15 times, extreme temperature events by 20 times, and wildfires seven-fold.”
If this claim were true – and the BBC certainly acted as if it was, splashing the story across its environment pages, bigging it up on its flagship Today programme – then it would be a very big deal.
Those figures, no question, would represent a significant jump in the kind of “extreme weather events” that climate alarmists warn us we should expect in this alleged era of catastrophic man-made global warming. Only a fool could ignore such clear evidence of imminent catastrophe.
But of course, the claim isn’t remotely true. As Paul Homewood discovered it came via an organisation called GMO – of which more in a moment – from a database called EM-DAT (The International Disaster Database), which logs reported natural disaster events over time.
Did you see that shocking BBC Panorama documentary about the bullying, Soros-funded, far-left, anti-freedom of speech propaganda group currently touring British schools with the Government’s approval, turning kids into brainwashed progressives who believe that “Islamophobia” is a bigger threat than radical Islam?
No. And you never will.
That’s because instead of holding these far left thugs to account, the BBC considers them to be allies, fellow travellers, kindred spirits. Hence the disgraceful allegations that the BBC’s flagship documentary series Panorama got in bed with one such organisation — HOPE Not Hate — in order to carry out a hit job on Tommy Robinson.
That hit job, if Robinsons ‘Panodrama’ sting is to be taken at face value, has backfired horribly.
But before we discuss ‘Panodrama’ in more detail, let us first pause to consider what the reaction would be if the BBC teamed up with, say, the English Defence League to do a hit job on, say, HOPE Not Hate founder Nick Lowles.
Plus: Channel 4’s SAS: Who Dares Wins shows you what equality between the sexes really looks like
As the Allies advanced towards Germany in September 1944, their supplies were brought all the way from western Normandy in a constant shuttle convoy known as the Red Ball Express. If you were making a realistic movie about this, three quarters of the truck drivers would be played by black actors, because that’s how it was in real life.
Similar rules would have to apply to any remake of Zulu or Zulu Dawn. It is an awkward but inescapable historical fact that there was no diversity whatsoever among Cetewayo’s Impis: they were all, resolutely, from the same African tribe. At the Battle of Crécy, on the other hand, every single participant was white European — even the misleadingly named Black Prince — so any movie version probably wouldn’t involve a call to Samuel L. Jackson’s casting agent.
Don’t watch The Sinner (originally on Netflix; now on BBC4) because, despite your better judgment, you’ll only get addicted after its irresistibly grabby opening. A pretty if slightly distraite mother called Cora Tannetti — Jessica Biel — is on a lakeside beach with her bearded beta cuck husband and their little boy, surrounded by other relaxed groups of weekend picnickers. Suddenly, she takes huge exception to a hunky male sitting nearby and derangedly stabs him to death with a fruit knife. Why?
That’s why it’s being sold as a new genre — the ‘whydunit’ — because obviously we know whodunit already. With seven more episodes to go, it’s probably safe to assume that the answer is much more complicated — but not nearly as plausible — as the one I gave to the Fawn at the end of episode one. ‘I know exactly why she did it,’ I said. ‘Why?’ said the Fawn. ‘Because she’s a woman…’ I said.