Fake News Horror

Journalism exists in a precarious state these days, particularly in its televised form. We remain skeptical of its accuracy and potential underlying agendas, while at the same time relying on it for information both vital and banal; everything from geopolitical news to weather and traffic updates.

But now, more than ever, people have little faith in the news, to the point where credible cable outlets like CNN are regularly derided as “fake news,” while satanic child abuse conspiracies like “Pizzagate” can be started in online forums and gain enough traction that they drive people to commit acts of real-life violence.

Considering this, It’s astounding to think that there was a time when major networks would air made-for-TV thrillers that were filmed and presented in the style of actual news broadcasts to give their stories a more realistic feel. Films such as SPECIAL BULLETIN (1983), GHOSTWATCH (1992), and WITHOUT WARNING (1994) tapped into popular fears and managed to truly frighten some unsuspecting viewers who happened to tune in.

1983’s SPECIAL BULLETIN is a fascinating example. Aired on March 20^th, 1983 by NBC, the film is framed as a breaking news story concerning a terrorist group docked in a harbor in Charleston, South Carolina. They kidnap a nearby reporter and camera crew covering an unrelated story, and force the fictional RBS station to give them a live feed into their New York studio in order to broadcast their demands: That the detonators of a nearby base’s cache of nuclear arms be transported to them so they can take them out to sea and safely deactivate them, thus beginning the process of unilateral disarmament between the U.S. and the U.S.S.R.

The tension and desperation in the film is palpable, but ironically, viewers might find themselves sympathizing with the terrorists more than the news anchors, who offer little more than arrogant, condescending commentary to the unfolding events. Meanwhile, we gain more information about the group and learn that they are a cadre of scientists, social workers, and activists, some of whom have backgrounds in nuclear defense. The group’s ostensible leader, Dr. Bruce Lyman, played by David Clennon (AKA Palmer in THE THING), is especially earnest and eloquent, and seems steadfast in his need to communicate just how important he feels nuclear disarmament is to the survival of the human race.

The film is a damning critique of network news, depicting the de-regulated, corporate-interest-and-ratings-centered form of American news media that was arguably in its infancy back in the early 1980’s, focused more on sensationalism than an objective relaying of the facts. Cliché though it may be, the “monster” in SPECIAL BULLETIN is mankind itself, or rather its pride and ignorance. And the film’s devastating finale does a frighteningly good job of showing the consequences of failing to overcome them.

Not content to let the yanks have all the fun, the Brits got in on the pseudo-news action with GHOSTWATCH, an infamous film aired by the BBC on Halloween night, 1992. A camera crew has descended upon a small house in a quiet town. The occupants, a single mother and her two pre-teen daughters, claim they are dealing with a poltergeist. While reporter Sarah Greene and her news crew weather the supernatural storm with Ms. Early and her daughters, we watch on with paranormal researcher Dr. Lin Pascoe, and a host of other TV journalists, from the safety of a studio, taking calls from viewers discussing past ghostly occurrences in the process.

The film starts off somewhat hokey and lighthearted, but as the night plays out and the spirit within the house shows more and more of its malicious nature, the dread and tension mounts. Pretty soon, callers are reporting that the broadcast is causing supernatural happenings in their homes as well, and before the GHOSTWATCH team realizes what’s going down, it’s already too late. The film’s effects are minimal, but the performances and pacing are strong. GHOSTWATCH’s final moments rival THE BLAIR WITCH PROJECT in terms of the terror they render via chaotic camera movement and the insidious implications of what is just out of frame.

Then there’s WITHOUT WARNING, aired by CBS on October 31^st, 1994. The film starts off with the opening of what seems to be a typical potboiler sex thriller, and is then immediately interrupted by breaking coverage of a mysterious asteroid landing in Wyoming. Soon, similar events are being reported all over the world. The situation grows even more curious when it become clear that strange radio signals are being emitted from the crash sites.

It becomes clear that what might’ve been a random asteroid crash is actually a coordinated effort made by alien life forms to make contact. And of course, us earthlings being the dumb clods we are, we manage to bungle up our response with force. The film’s latter half shows the fallout that comes with it, as the reporters in studio and on location grapple with the drama and unprecedented events. Though the premise is a bit fantastic, the actors (some of whom were real-life journalists) play their parts with a straight face, creating the illusion of a harrowing reality where the fate of the planet hangs in the balance. As a viewer, you get the sense that this could actually be what news of alien contact would look like, a thought made all the more chilling by its apocalyptic finale.

While none of these films were made with the intent to incite panic—they all feature opening and closing credits, and reportedly ran with messages between commercial breaks assuring viewers they were watching a dramatization—many people were terrified regardless, and each film carries stories of confused call-ins to various affiliate stations wanting to know what was going on. GHOSTWATCH caught the worst of it; many people truly thought they were watching a live broadcast, and the BBC reportedly received 30,000 calls to its switchboard over the course of one hour. The ensuing controversy and debate over whether or not the BBC acted irresponsibly by airing the program has caused it to never be shown on British TV since (though it is currently streaming on Shudder).

This sounds ridiculous to us now, but you have to remember that these films were broadcast at a time when you couldn’t even use your remote to check the title of what you were watching, let alone consult with social media to see if anyone else was seeing this crazy shit. If you happened to miss the opening credits and any of the bumps assuring you it’s fake, you wouldn’t be blamed for being scared into believing these movies were the real deal.

The closest thing I’ve seen to a newer entry of note for this genre is Chris LaMartina’s WNUF HALLOWEEN SPECIAL, a 2013 horror comedy made to look like a VHS recording from 1987 of a local TV station’s investigation into a haunted house, complete with an attempted call-in séance. The film features some fun performances and a bevy of hilarious era-appropriate commercials. If you feel the urge to check these films out, especially for the Halloween season, I recommend putting WNUF on the list.

But there still appears to be no examples of fake news TV movies made for the modern day. Perhaps the current media landscape has rendered them irrelevant; perhaps the social climate is too volatile. Whatever the reason, fake news horror seems to specifically be a product of 20^th century mass media…for now…