(2009 TV Series)
Episode: The Tesla Experiment (2014)
He is one of the most prolific inventors of the 20th century--and the man that actually electrified the world. Nikola Tesla shepherded mankind to a new industrial era and laid the groundwork for today's technological age--but could that have been by some otherworldly design? A man shrouded in mystery and intrigue, Tesla would speak about obtaining insights in a flash of genius, how he could visualize his inventions in full-detail and manipulate them in his mind, and his compulsion to invent the future. But he also claimed to have direct communication from intelligent beings on other planets. Is it possible that this alleged mad scientist, so far ahead of his time, was actually a human "receiver"? A being tapped to advance mankind--and pave the way for a future reunion with our alien ancestors?
|2.||Flash of Genius
Based on the true story of college professor and part-time inventor Robert Kearns' long battle with the U.S. automobile industry, Flash of Genius tells the tale of one man whose fight to receive recognition for his ingenuity would come at a heavy price. But this determined engineer refused to be silenced, and he took on the corporate titans in a battle that nobody thought he could win. The Kearns were a typical 1960s Detroit family, trying to live their version of the American Dream. Local university professor Bob married teacher Phyllis and, by their mid-thirties, had six kids who brought them a hectic but satisfying Midwestern existence. When Bob invents a device that would eventually be used by every car in the world, the Kearns think they have struck gold. But their aspirations are dashed after the auto giants who embraced Bob's creation unceremoniously shunned the man who invented it. Ignored, threatened and then buried in years of litigation, Bob is haunted by what was done to his family and their future. He becomes a man obsessed with justice and the conviction that his life's work-or for that matter, anyone's work-be acknowledged by those who stood to benefit. And while paying the toll for refusing to compromise his dignity, this everyday David will try the unthinkable: to bring Goliath to his knees.
London. 1933. Young writer Christopher Isherwood is hired by Imperial Bulldog Pictures to rewrite the screenplay of Prater Violet - a daft, sentimental love story set in 19th century Vienna. Christopher is cheap and malleable - perfect bait for the shark-like producers to throw to the film's temperamental Viennese, Jewish director Friedrich Bergmann. And so begins a whirlwind of frayed tempers and clashing egos, of crass studio nonsense v. European art house sensibilities. Isherwood and Bergmann are fishes out of water, at first grimly fascinated and then slowly horrified by the burgeoning movie business and its complete disinterest in the terrifying rise of fascism in Austria and Germany. The studio becomes increasingly self-absorbed with its Prater Violet confection, ignoring the all too real horror story looming in Europe for Bergmann's Viennese family. Prater Violet is a life v. art tragic-comedy. But it is also a father-and-son movie. Bergmann grabs needily to Isherwood (the son he never had), increasingly distraught that he's left behind his wife and daughter in danger. In Bergmann, Isherwood has a father-figure to look up to; Bergmann's infuriating petulance is tempered by flashes of genius. Bergmann is a true visionary, tragically aware of the personal sacrifices required in artistic professional life. Prater Violet echoes The Last Tycoon and The Artist; it audaciously plays with form as well as content, mixing the artifice of studio sets with 'real life'; blending movie characters with the 'real thing'. It is a story that questions the political and moral responsibilities of modern life.