No other form of art, angle to truth, aspect to storytelling, and approach to the unknown does more damage to the boundless energy of documentary filmmaking than conspiracy theories. A range of documentaries—-big and small—-represent the didactic, the educational, the revolutionary, the introspective, the informative, the bonafide, the engaging, the rebellious, the probing. Conspiracy theories represent the questioning, the challenging, the explaining, the opining, the invoking, the thought-provoking. Clearly, both share parallel trajectories in non-fiction storytelling. And, so, often do both worlds collide especially when subject matter delves into sociopolitical territory. However way the two worlds and pursuits for the Truth come to a meeting ground more often is the case today that conspiracy theories serve as a liability for documentarians and their dedicated teams.

Conspiracy theories have come a long way. And, with the advent of our internet age propelled by this burgeoning era of social media conspiracy theories have not only become commonplace but mainstream. There was a time conspiracy theorists not too long ago regulated themselves on the margins of society with years-long research on topics like Roswell UFO landings and the JFK assassination. Dedicated thinkers employed in a range of skilled disciplines in the sciences and the humanities, and as paraprofessionals were motivated by one common thing—the truth. Years were taken to excavate the remains of commonly-held beliefs. Such thinkers and researchers at the time were not interested in fandom, publicity or platforms for commentary (i.e. radio, internet websites, social media channels). Documentaries at this time served a vital role for these earlier bastions of conspiracy theorizing. Such award-winning works completed at this time were Nigel Turner’s 9-part series, The Men Who Killed Kennedy and David Kasper’s Oscar winner, The Panama Deception. As a learning and engaging tool documentaries produced at this time were a bridge for research done outside the typed word. Documentaries delivered in fashion were motivated by the impulse for facts over commentary, raising awareness beyond the distracting, and kernels of truth separate from ideology.

Today, conspiracy theories rarely require homework much less investigation and research. 9/11 Truthers lead campaigns of vengeance against governmental bodies based on reactionary politics over a particularly figure or a party organization. They often take to the streets and flood comment sections on Facebook and YouTube—-rarely on details of facts and probing researched information. Popular documentaries in recent years have leaned in the contours of ideology and propaganda. In Michael Moore’s protrusive work, Fahrenheit 9/11, viewers were taken on a two hour thrill ride of left-wing ideology. The film contended that American corporate media culture served as “cheerleaders” for the 2003 U.S. invasion of Iraq. Moore expounded on his theory by angling his position that the Bush II Administration did not provide an accurate, objective analysis for the rationale for the war and the resulting casualties that came. Historical and scientific accuracy did not motivate Michael Moore and his team to accomplish a thorough job of nonfiction storytelling. Instead, his angle to discredit a sitting president and his foreign policy was the main motivation. Ideology in popular documentaries have even spilled into the topics of race for conspiracy theory-laden documentary films. Ava DuVernay’s Netflix flick, 13th, analyzed the intersection of race and the U.S. criminal justice system. The film took deep en-routes in topics like slavery, the Jim Crow era, and mass incarceration. But, DuVernay’s thesis rested on the conspiracy theory that the 13th Amendment, which abolished slavery, led to present-day prison labor. This labor was spawned by the war on drugs which served as a precusor to imprisoning large numbers of black and brown people throughout the U.S. One critic opined “You’d think from 13th that crime didn’t exist.”

When documentary filmmaking takes on conspiracy theorizing far too easily does it fall into the murky web of ideology and propaganda. Here’s where the two worlds of documentary filmmaking and conspiracy theorizing become enemies in the battlefield. So, much of documentary filmmaking is about credible reporting and fact-gathering along with a honest approach to stories and characters. Just like that of journalists–whether as writers or media personalities. Viewers of these documentary films are informed not swayed. If a new wave of viewership and growing audiences expanding beyond niche markets seek documentary films for the means of authenticating their deeply-held political and religious views than documentary filmmaking has turned the corner. And, perhaps, it is a move beyond the point of no return.