Glenn Beck Unveils His Next Nutty Idea to His Followers at His Summer Gathering: I'm the Man in the Moon
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"Our culture has gone off the rails," Beck told the sold-out amphitheater crowd. "And nobody on our side has done anything about it -- until tonight."
Over a violin accompaniment, Beck told of the young company's origins. The seed was planted in Beck's successful bid for an original copy of Walt Disney's first corporate prospectus. "Nobody even bid against me," he said, hinting at yet another divine wink. In the manifesto, Beck read of the young Disney's desire to use "the facts and articles of American history" to entertain the masses. Yet, somewhere -- maybe around the time of Bambi's anti-gun message; Beck didn't say -- Disney lost his way. It now fell upon Beck to pick up Disney's mouse-pattern mantle and wear it with renewed purpose.
He announced that his team was already thinking big. Disney big. A sequel to "Man in the Moon" was in the works featuring a 2,000-voice choir and full symphony orchestra. Another project in development will tell the story of Tesla and Edison. The Labs' first commercial film is slated for Christmas 2014. Beck's final tease should have triggered peals of laughter, but it didn't. American Dream Labs, said Beck, was drafting plans to remake Cecil B. DeMille's The Ten Commandments. Not just the story of Moses and the Ten Commandments, but Cecil B. DeMille's version of Moses and the Ten Commandments -- the four-hour, cast-of-thousands film landmark that has become synonymous with "epic."
American Dream Labs would update DeMille's vision for a new century, Beck explained, giving it "an entirely new look, and tell it in an entirely new way."
For those who've dutifully followed Beck around the world in pursuit of promised miracles, the USANA amphitheater may have come as a disappointment. This was not the National Mall or the Western Wall, sites of two previous Beck events, but a homely concrete stage scheduled in the months to come to host Cypress Hill and the Rockstar Energy Drink Festival. How could this be the site of revelation when the urinals barely flushed and you couldn't get a hot dog for less than $7? Perhaps picking up on a frequency of doubt, Beck reassured everyone in his introduction that they were getting a world-historical twofer. Not only did they have front-row seats for the inaugural blast from his game-changing culture-war Death Star, they were about to witness a multi-media spectacle Beck described as "a new American art form."
As he stood waving this promise of something never before seen, framed by the show's steampunk stage design, Beck appeared more than ever as a carnival emcee from another age. As my eyes drifted from the bow-tied Beck up to the wooden stage banner painted with an old-timey moon-in-the-sun motif, it hit me that this was his idea exactly. The throwback aesthetics, and Oz-esque narrator mock boasting of the show's technological feats -- in "Man in the Moon," Beck had found a conceit allowing him bare his inner Barnum. This might explain Beck's recent embrace of his long-suppressed affinity for bow ties, and his inclusion in the script of Barnum's immortal slogan for a certain tradition of American showmanship, "There's a sucker born every minute." It was in the character of a traveling tent barker that Beck rattled off the amazing technology and human wonders that populate his new American art form -- "a combination of projection mapping, on a scale that has not been seen before, pyrotechnics, flying by wire, and propeller, and good old-fashioned storytelling that has all but been lost since the death of Mark Twain!"
After placing himself in the trousers of Twain, DeMille and Disney, it was time to start the show.