Wednesday, October 05, 2016

Netflixhoax 8: Omitted - Honest Picture Of Sleazy Production Team, Hard Facts That Challenge Them

Posted by Ergon

Netflix’s Amanda Knox is an extreme example of misleading bias by cherrypicking. This post is another in our ongoing series, the mothership for material for this media-friendly page online soon.

I saw the film at the Toronto International Film Festival. As a passionate lover of movies and documentaries, I respect the right of ANYONE to create a documentary or film through the prism of their own POV.

On the other hand, they owe us, the audience, a modicum of honesty in their reporting. Otherwise, as some one once complained about deceptive editing and reporting in one of Katie Couric’s documentaries, it prevents “democratic discourse” and this is what we ask.

By all means, engage with us, but do so honestly.

Having followed the case for many years as well as attending the earlier Supreme Court hearing in 2013 I can add the following:

  • Rudy Guede’s lawyer Valter Biscotti had a lot more to say about his client being convicted ‘in conjunction with others’. This was edited out, as well as the caption Knox put alongside her blog when she posed with a machine gun, “The Nazi Within”.  Something the media reported correctly at the time, McGinn and Blackhurst not.

  • The Producer Stephen Robert Morse hid his involvement in the project with Brian McGinn and Rod Blackhurst since 2011. They had ALL made inflammatory comments in favour of Amanda Knox over the years, with Morse hastily deleting some (but not all) as the Netflix sale came up.

  • He even called Nick Pisa “a piece of shit” in Perugia in 2011. It was the reputable Danish production company head Mette Heide that approached Mignini and Pisa, who didn’t know of Morse’s involvement, but that gives the background to this biased ‘documentary’ and why some may feel it is less than fair or balanced in its portrayal of the protagonists.

  • Mignini was referring to the Monster of Florence case when he talked of people coming up to shake his hand, the film makes it look like they were congratulating him for putting away Amanda Knox.

  • He was referring to it being an inside job when he said an “unknown” man (edited out to make him seem misogynistic) would not have covered Meredith with a blanket.

  • The film emphasized his Catholic beliefs to make it seem he was making a moralistic judgement about her. As he pointed out, the evidence was somewhat overwhelming. It also made it seem like his love of Sherlock Holmes was proof of him following a hunch. Um, that’s what investigators sometimes do, especially when faced with the numerous prevarications and failed alibis of Amanda Knox. Obscuring the evidence to match your narrative is dishonest to the extreme.

  • The ‘independent’ DNA experts Conti and Vecchiotti were given lots of room to claim contamination though that was never proved in court, only inferred. Also left out: Vecchiotti’s sentence for not maintaining sterile conditions in HER laboratory. Her switching a suspect’s DNA with another in one of Italy’s worst murder cases in order to falsely exonerate someone with ‘connections’. The tests had to be redone to obtain a conviction. As they make fun of Nick Pisa for ‘not fact-checking’, should they not have fact-checked before they placed her on camera?

  • The biggest laugh the Toronto audience gave was WITH Nick Pisa when he said “I mean, she’s (Knox) a complete and utter loon”.

  • This follows the Netflix template of creating reasonable doubt as it did with “The Making Of A Murder”. By over emphasizing the defense case, and ignoring the prosecution’s, it reads like propaganda.

  • This is neither fair nor balanced, nor is it original. It adds nothing to our knowledge, being a rehash of her book and numerous TV interviews, and already covered in Michael Winterbottom’s “The Face Of An Angel” in his fictionalized ‘the making of a movie within a movie’ adaptation of reporter Barbie Nadeau’s book. Oh, and producer Morse insulted HER too.

  • There were several prosecutors and numerous judges helped convict her, not just prosecutor Mignini. Nor was it an exercise in misogyny, the case was largely driven by five women: Judge Claudia Matteini, co-prosecutor Manuela Comodi, Scientific Police DNA lab technician Patrizia Stefanoni, homicide Inspector Monica Napoleoni, and Inspector Rita Ficarra.

  • This exercise in PR looks like an Amanda Knox Production, with her playing the lead role, director, producer and writer. Yet she fails to see how she comes across with her melodramatic styling and emotive pauses and outbursts. She is neither believable nor sympathetic, no matter how hard they all try.

  • Two stars out of ten for production values and slick cinematography, none for the film itself.

In the end, the picture belongs to Meredith Kercher, remembered by her family with a grieving Arline Kercher, her mother saying how she just could not understand how there could be two convictions and two acquittals; justice denied.

And a haunting video of Meredith, taken in the full bloom of her youthful promise by Amanda Knox. She didn’t want to be filmed, but as Knox admits in her book, she took the video anyway. (And included in her film).

Meredith Kercher, RIP.


Very good Ergon.

The brief video clip of Meredith which Knox took against her express wishes was indeed haunting. But I wish I’d never seen it.

I dread to think of just how many times Knox has watched it, and likely still watches it to this day, whilst feeling great pride and joy that she managed to snuff out so easily (and get away with it) a life that was infinitely more beautiful, physically and spiritually, than her miserable existence could ever hope to be.

In my view, this is all part of the continued taunting of Meredith’s dignified family by effectively saying “look, I’ve even got a part of her that you don’t have and I’m going to show it to the world even though your daughter/sister didn’t want me to take it in the first place”.

It’s just the latest in a very long line of heinous, callous and thoughtless acts perpetrated by Poxy Knoxy against the rather splendid family who make her own family look like the Beverly Hillbillies. Zero class Knox.

Posted by davidmulhern on 10/06/16 at 03:55 AM | #

Some people grow up with a sense of entitlement for the world- they believe they are entitled to everything they wishes for.

They cannot take a “no” easily; they get violent. The sense of entitlement tells them that no “no” is acceptable.

Even the mildest of protests or criticisms flares them up; how come someone comments on them?

And these people do not even think twice to snuff out a promising life.

Posted by chami on 10/06/16 at 05:02 AM | #

I agree about the video of Meredith. Meredith also puts her hand over the camera at the end.
Such typical, callous behaviour of AK to include it in the documentary.

I listened to Ergon and I agree with all he says about the doc. On reflection it is more biased than I previously thought.

I’m surprised she has so much support considering, as Ergon says, how unsympathetic and unbelievable she comes across

As Ergon says, she is neither believable or sympathetic. “I noticed the splotch of blood on the bathmat”. I’m glad the doc included the picture of this ‘footprint’.

Posted by DavidB on 10/06/16 at 07:18 AM | #

The hierarchy of responsibilty has Netflix management at the top and Mette Heidi on the next rung down. She hired the Crackpot Three with clearly NO check on the net where their many rants still stood.

Mette Heidi also made Mignini presume he was in safe neutral Danish hands. Was he set up? OF COURSE. He was never told what Knox was claiming about his own staff.

Posted by Peter Quennell on 10/06/16 at 10:41 AM | #

Thanks, all. Two thoughts came up after I wrote the review.

1: Amanda Knox herself raises the question, Is she a psychopath or not?, then McGinn and Blackhurst avoid the many proofs out there by deflecting. Funny how she brackets it with her statement about how ‘people are scared of monsters’ while her interlocutors do their best to demonize Pisa and Mignini.

2: I agree I would have preferred not to have seen the video of Meredith in that film. But seeing how she wrote about taking the video, I got it: she’s gloating, like any other sexual sadist.

Posted by Ergon on 10/06/16 at 07:42 PM | #

@ Ergon -
“Amanda Knox herself raises the question, is she a psychopath or not?,”
Whether she is “A Psychopath” , she does many psychopathic things.

Posted by Cardiol MD on 10/06/16 at 09:00 PM | #

Indeed @Cardiol.

There can be no doubt now that Knox has self diagnosed and clearly knows that she is a psycopath.

She knows she did this horrific thing, as do most people with an IQ in triple digits, and states very clearly that she can only be one of two things. Joe Normal like the majority of us or a psycopath, in sheep’s clothing no less, as she clumsily mixes her metaphors.

She’s basically making everyone who knows that she is a lunatic aware that she knows she is too and that there isn’t a damned thing anyone can do about it. She wallows in her own filthy mind like a hippo does in mud.

I wouldn’t be surprised in the slightest if violence broke out in Poxy’s new idyl with the very weird Chris. I think she’ll avoid amateurish attempts at break in cover ups next time and just go for the self defence Jodi Arais type cover up.

I may find out if my online bookmaker will give me odds on such a thing!

Posted by davidmulhern on 10/07/16 at 05:43 AM | #

Stephanie Kercher interview in the Daily mail about the documentary

Posted by Ergon on 10/10/16 at 12:50 PM | #

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