{"id":1092,"date":"2005-04-29T10:55:43","date_gmt":"2005-04-29T17:55:43","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/04\/just_business\/"},"modified":"2005-04-29T10:55:43","modified_gmt":"2005-04-29T17:55:43","slug":"just_business","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/04\/just_business.html","title":{"rendered":"JUST BUSINESS"},"content":{"rendered":"

<\/A>Consider this from Roger Ebert’s review<\/FONT><\/B><\/A> of “Enron: The Smartest Guys in the Room”<\/B><\/FONT><\/A>:
\n

<\/P>
\n


\n

The most shocking material in the film involves the fact that Enron cynically
\nand knowingly created the phony California energy crisis. … If the crisis had been created by Al
\nQaeda, if terrorists had shut down half of California’s power plants, consider how we would
\nregard these same events.<\/BLOCKQUOTE>
\n

<\/P>
\n

“This is not a political documentary. It is a crime story,” Ebert writes. “No matter what your
\npolitics, [it] will make you mad.” So why is Ken Lay, above, still smiling? Will the jury wipe the
\nsmile off his face when he comes to trial in the fall? Or will it say “Well done!” just as the
\ndumbshit electorate did last fall for our Dear Leader?<\/p>\n","protected":false},"excerpt":{"rendered":"

Consider this from Roger Ebert’s review of “Enron: The Smartest Guys in the Room”: The most shocking material in the film involves the fact that Enron cynically and knowingly created the phony California energy crisis. … If the crisis had been created by Al Qaeda, if terrorists had shut down half of California’s power plants, […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1092","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-hC","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1092","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1092"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1092\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1092"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1092"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1092"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}