Len Blavatnik’s House Productions (Viktor Vekselberg business partner) funded a Dominic Cummings hagiography that looks appropriately ridiculous and problematically timed for release.
Also, looks like a @chrisinsilico biopic is in the works.
Pro Tip: If you’re making a fictionalization of the data crimes that led to Brexit & Trump try to make sure the Russian money is truly untraceable.
If anyone needs a receipt for the above claim. They really make this way too easy.
🔗houseproductions.com/pdf/house-prod…
🔗bloomberg.com/news/features/…
🔗houseproductions.com/pdf/house-prod…
🔗bloomberg.com/news/features/…
You see the thing is that if the script didn’t get fixed this might be cringe comedy folks, Cumberbotched.
These fictionalizations of Brexit (and soon Trump) are inevitable cultural products but with transnational criminal investigations lasting years of breathtaking and unprecedented complexities it becomes unavoidably problematic. These stories must be told but with a critical gaze.
Of course, I’m in no way opposed to making media on the subject of political crimes in the 21st century. Beyond copious journalism, I’ve sat for several documentaries, releases ongoing as the investigations unfold in parallel with the reverberations of the Brexit-Trump cataclysm.
HBO’s Brexit trailer seems to highlight how voter targeting was used to identify and microtarget along in-group/out-group using TAA (target audience analysis). Similar to Trump, Brexit was about activating racists who weren’t previously voters with high propensity to participate.
So while fictionalization may omit scenes problematically (unlawful campaign coordination via AggregateIQ seen in Google Drive, getting illegal fundraising and TAA pitches by CA/SCL, boozy lunches at Russian embassy, misleading and contempt of DCMS committee, DUP dark money)…
…this film appears to be dramatizing key issues that a democracy needs to be confronting in the post Brexit-Trump cataclysm. How are attempts being made against the electorate to divide it against itself with its own data by diabolical means?
HBO/BBC/C4/Blavatnik’s Brexit film could be Robert Mercer’s first (but surely not last) theatrical depiction, based on this leaked draft script snippet of a scene with Arron Banks, a character who’s LeaveEU funding remains accounted for. Is that also dramatized in the film? 1/19. 
