Richard Metzger’s Disinformation

Written by John Strausbaugh on . Posted in Miscellaneous, Posts.

Early in
December of last year, Tivo’s program listings and some local newspapers
around the country listed a show called Disinformation, to be aired late
that Saturday night on the Sci-Fi Channel. Some readers would have recognized
that this was the Disinformation people–, the books You Are
Being Lied To
and Everything You Know Is Wrong, the Disinfo.Con of
Disinformation on tv? On the Sci-Fi Channel? No way.

They would’ve
been correct. Disinformation never aired.

Last week
I sat with Disinformation’s founder Richard Metzger in the small apartment
he and his girlfriend share on Christopher St. (He also has a place in L.A.)
We were laughing at segments from his ill-fated tv enterprise. He calls Disinformation
"a punk rock 60 Minutes." It looks like a typical documentary
or "news magazine" program. It’s the subject matter that distinguishes
it. This is news from what used to be called "the fringe" and "the
underground": weird science, conspiracy theories, ufology, political and
sexual extremists, visionary artists, philosophers, psychos. Amok Books stuff.
Feral House stuff. The Alexandrian Library of high weirdness. On tv.

We watched
a segment of touching, fascinating interviews with she-males. There’s a
profile of performance artist/shock-rocker Kembra Pfahler (the Voluptuous Horror
of Karen Black), including some of Richard Kern’s footage of her having
her labia sewn shut. There’s artist Joe Coleman blowing himself up. Robots
fucking. A West Coast geek who calls himself "Rocketboy" (not to be
confused with New York’s "Rocketman") and insists he’s a
superhero from outer space. Interviews with outre intellectuals like Robert
Anton Wilson and Howard Bloom (The Lucifer Principle). Clips from the
lo-fi cable show Uncle Goddamn, in which fat old hillbillies mix it up
with semi-pro wrestlers, sort of a Hee-Haw meets Jackass. A segment
on extreme s&m porn. Marilyn Manson. Genesis P. Orridge. Kenneth Anger.
Artist and time machine inventor Paul Laffoley. Sculptor and weird science buff
Duncan Laurie. Conspiracy nut Brice Taylor, who, among other political-sexual
fantasies, accuses the senior George Bush of being a pedophile.

Not much
of this is new to me. I’ve interviewed or written about a lot of these
people over the years. (I still owe Laurie a videotape he loaned me a few years
ago of a rare appearance by weird scientist Andrej Puharich on the old tv show
One Step Beyond.) What was cracking me up was the idea of this stuff
being shown on the Sci-Fi Channel. As Metzger puts it to me, you have to wonder
who was smoking crack in the executive offices when they greenlighted this project.

When Metzger
launched Disinformation in 1996 it was as, a Drudge Report for the
fringe, with links, articles and interviews on an array of "alternative"
views and ideas. In less than a month it managed to lose the funding of its
corporate backer, Tele-Communications Inc. (TCI, later absorbed by AT&T).
Metzger and his business partner, a Brit named Gary Baddely, kept it afloat
as an independent affair.

The site’s
still there, though Metzger’s quick to admit it’s not quite as up
to date as it used to be, and he hasn’t paid it much mind over the last
couple of years. As a struggling little media concern, the Disinformation Company
has been chasing money in other ways. The two Disinformation books, You Are
Being Lied To
and Everything You Know Is Wrong ($24.95 each), both
Adam Parfrey-style compendiums of the edge, have sold well in small-press terms.
Disinfo.con, depending on whom you talk to, was a moderate success or a countercultural
Star Trek convention.

And Metzger’s
been making tv. In the later 90s he had produced some video for the late Pseudo’s
online "network." In 1999, through his UK connections, he got funding
from Channel 4, England’s hipper network, to make what turned into 16 half-hour
episodes of a series called Disinformation.

didn’t pay that much for it, so we ended up owning it," Metzger recalls.
"They just paid a licensing fee. It was cable access-level low. The reason
that this stuff looks good is that I and the editor, who also shot the second
season, Nimrod Erez…killed ourselves to make the thing look really good."

And in fact,
even with the outre subject matter, Disinformation looks as good as or
better than any documentaries you see on, say, the Discovery Channel. Metzger
makes a fine, professional stand-up host. The production values are bright,
kinetic, futuristic.

The first
episode aired in the UK in January 2000, running after Ally McBeal at
11:30, and the show became quite a success for late night. At the end of that
season, Metzger says, a Channel 4 executive told them, "‘I don’t
think you went far enough. If you’re not challenging the legal department
with every single minute of this show, it’s not the show that I want.’
And I’m thinking, ‘Pinch me. That is a license to drive.’"
So they went more extreme for the second season–Metzger remembers his prim
partner Baddely saying he felt "assaulted" by the she-males segment–"and
[the Channel 4 exec] didn’t stand behind it at all. He just freaked out
and buried this thing. He had constant battles with the legal department, which
we lost every time." The second season ran very late at night and didn’t
do nearly as well as the first had.

with 16 episodes in the can, they began shopping Disinformation around
to cable channels in the U.S. Their agent at the time was Ben Silverman, the
now immensely powerful personage who got Survivor and many other reality
tv shows on air. "Practically all of television in the last two years came
through his office at William Morris," Metzger says. Silverman pitched
an hour-long Disinformation demo to American cable channels "to
a resounding silence. Nobody but nobody responded to it," Metzger laughs.

Except for
Bonnie Hammer, president of the Sci-Fi Channel. The demo she was sent included
segments on the Montauk Project (ufology), clips from Uncle Goddamn and
the segments on she-males, Brice Taylor and Kembra Pfahler.

she greenlighted it. "Maybe she didn’t watch the whole thing,"
Metzger, who says he likes and admires Hammer, surmises. "Maybe she just
watched the first few minutes… This is not tame shit. It’s not a jack
that jumps back into the box."

Last August,
the Sci-Fi Channel budgeted $200,000 for Metzger and his crew to edit a series
of four one-hour best-of "specials" culled from the 16 half-hour episodes
that had run on Channel 4. The first installment was originally slated to air
around Thanksgiving, then pushed back to December. This was the one that got
some listings, then never appeared.

because when he delivered the first three of the four shows shortly before that
debut night, according to Metzger, Sci-Fi’s executives went ape. To him,
it was as though they were suddenly seeing the material–a lot of it the
same footage they’d supposedly watched and approved in the demo–for
the first time. At any rate, he says, they freaked.

say no Brice Taylor, no way. They say no Uncle Goddamn. This she-males
thing, no way." And so on. Metzger says the list of things the channel
eventually asked him to cut or change ran to 400 items, from excising whole
segments to blurring the nipples on a nude in one of Coleman’s paintings.

that point I was like this is never ever going to happen. This is a fucking
joke… This is not going to work." He remembers protesting, "You
bought Caligula. You did not buy Mary Poppins."

To no avail.
Clearly, we weren’t–aren’t–ever going to see Disinformation
on the Sci-Fi Channel. "They were very nice about it, and they paid out.
They were so upfront and cool about it, realizing that they made a mistake,
that they paid us the very next day."

points out further ironies in this story. The Sci-Fi Channel is owned by USA.
The new head of USA Interactive, Michael Jackson, is a Brit. In fact, he was
the head of Channel 4 when it funded and ran those 16 episodes of Disinformation.
In effect, then, his new staff bought and then rejected one of his own shows.
Then again, Metzger will concede, the show did not do well in its second season
in the UK, and even in its very-late night spot, those raunchier second-season
shows did earn Channel 4 a lot of protest and complaints from parents.

also likes to note that USA Interactive is owned by Vivendi-Universal. Maybe,
he suggests, this is a tiny example of why Vivendi’s in such financial

So what
to do with Disinformation now? Metzger’s pursuing a few options.
Though no longer associated with Silverman, he’s pitching it again to American
cable channels. With a little judicious editing, it would seem right for late
nights on one of the HBO channels, for instance.

option is to edit a feature-length documentary film out of it, get some exposure
on the festival circuit and then go back to cable to try to get the whole series
aired. Either way, it will inevitably be sold on video and DVD at
And in the meantime, Metzger has turned the transcripts from all those interviews
into a book, which Disinformation will publish in the near future.