How I Single-Handedly Spiked a Hollywood Hit Job 

A recent comment on Reddit asked the following question:  

A year ago around this time, [director] Doug Liman debuted a documentary at Sundance about Supreme Court Justice Brett Kavanaugh, specifically the multiple sexual assault allegations against him. It premiered to a full house at Sundance and received positive reviews from the critics who saw it. There was a post about it in this subreddit that received 16k upvotes. It had significant eyes on it for a minute.

The writer goes on:

After that, however, there is shockingly little about it online. Mostly the press it received at Sundance, which is pretty standard. It was never released anywhere else as far as I can tell. … I’m not surprised the big name streaming services don’t want the smoke of dealing with it, but it’s weird that I can’t find any other recent news about it. Did Kavanaugh sue Liman and/or Story Syndicate (the production company)? Or does it, perhaps, contain sensitive information about an ongoing legal case that’s keeping it from seeing the light of day? It seems odd that, at this point, they wouldn’t at least make it available online if they couldn’t find a company willing to release it.

I can answer this Redditor’s question. The documentary Justice never came to theaters because I destroyed it. Think one pissed-off conservative can’t take on Hollywood and win? Read on.

Justice is a 2023 documentary by Doug Liman, the famous director of Swingers and The Bourne Identity. In late 2022, Liman was finishing the film, which he had produced in secret for two years. Kavanaugh had been falsely accused of sexual misconduct and his 2018 confirmation hearing had been a madhouse. Liman was attempting to tell what he alleged was the “unreported” story—that is, that Kavanaugh was guilty and there had been a cover-up.

There was only one problem. Liman and his crew were not counting on my book being published. The Devil’s Triangle: Mark Judge vs the New American Stasi came out in November 2022—right as Liman was finishing Justice. In his years of producing and directing Justice, Liman had never once reached out to talk to me. He had ignored a long series of articles I had written exposing the opposition research, extortion, witness tampering, and death threats that had gone into the hit on me and Kavanaugh.

Although Liman had been ignoring me, by 2022 there was my book to confront. There was no way he could continue ignoring me. 

Not for the first time, I was grateful that I had listened to my own conscience and written The Devil’s Triangle despite criticism from both the left and the right. Liberals, of course, did not want the truth to be told. Conservatives told me to get over it, that Kavanaugh was seated and there was no need to keep hammering the subject. I told my clueless colleagues that the left was not going to let this go, that there would be books and movies. We needed a written record of the truth that would serve as a line of defense. Otherwise, the predictable result would have been what always happens to the right—it would get rolled. 

I have never met people with worse street smarts than the denizens of Conservative, Inc.

So, I was not surprised when Doug Liman contacted me right after news about my book hit the internet. “I’m a director and I’m making a movie I want you to be in,” he said. Who was this? How did he get my number? Liman then told me he could get me to New York, “all expenses paid.”

Of course, I knew it was an ambush. It reminded me of when Ronan Farrow called me in September 2018 to tell me that I was in a letter accusing Brett Kavanaugh of sexual misconduct, but Farrow could not say who the accuser was or where it allegedly happened—only that it had taken place “in the 1980s.”

In another text, Liman tried to assure me that, like me, he was “an ’80s guy.” Then Liman and his producers asked me to sign a nondisclosure agreement. His producers then (and this was truly incredible) ignored my agent, contacting me three times after I had made it clear to talk only to my representative. When I forwarded my agent the nondisclosure agreement, he was blunt: “If you sign this, you are insane.” It was a trap. I would be interviewed then edited to come across in the worst possible light.

Liman could have avoided a lot of the embarrassment that occurred at Sundance—the reviews for Justice were actually bad—if he and his crew had just behaved with some journalistic Integrity. Liman has admitted to stretching the facts to tell a story. His film American Made, for example, is the story of Barry Seal, a real-life Louisiana TWA pilot-turned-drug smuggler for the Medellín Cartel who got rich in the ’70s and ’80s before becoming a Drug Enforcement Agency informer. American Made is for people who find Oliver Stone too subtle. Liman has called the film “a fun lie based on a true story.”

My last contact with Liman involved one of his producers, who called me shortly after Justice aired at Sundance. I unloaded on that sorry bastard with a vituperation that made me dizzy. “I see your point,” he feebly offered at the end of a 20-minute dressing down. 

Since then, another documentary about me, Judge & the Justice, began airing on Fox Nation. It’s not perfect but it’s also not Stasi propaganda. So yes, I am going to keep promoting my book, which you should buy. It might prevent the next liberal mugging. 

The left is relentless. They will spend years on projects that spread lies and distort history because they know that doing so can profoundly affect the culture. Had I listened to the left or the beached whale that is conservatism, Justice would have been screened while justice was denied.

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