“Investigators searching for cocaine dropped by an airborne smuggler have found a ripped-up shipment of the sweet-smelling powder and the remains of a bear that apparently died of a multimillion-dollar high.”
So began the Associated Press news agency’s 23 December 1985 report on one of the most bizarre drug-trafficking stories in history.
The 175lb black bear’s body was discovered in the mountains of the Chattahoochee National Forest, about 80 miles north of Atlanta, Georgia, and just south of the Tennessee border, near to a duffel bag and 40 packages of the drug that had been ripped open and scattered over a hillside.
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1:03
Redemption for real cocaine bear
The cocaine had fallen from the skies three months earlier courtesy of former narcotics investigator and army paratrooper turned drug smuggler Andrew Thornton; he had intended to parachute down from a small plane over Knoxville, Tennessee, but ended up falling to his death.
Wearing night vision goggles and a bulletproof vest, and carrying guns and knives, according to reports from the time, his body was found in a neighbourhood driveway. His unmanned Cessna airplane crashed into a mountain in North Carolina about an hour later.
The true story of “Pablo Escobear” now forms the basis for the start of new gore-comedy Cocaine Bear, directed by actress and filmmaker Elizabeth Banks. It is not for the faint-hearted: there’s blood and guts and very grisly ends (pun intended), and a bear snorting cocaine wherever it can get it, including severed limbs.
Banks, star of films including the Pitch Perfect and Hunger Games series, tells Sky News she went “fully down the internet rabbit hole” when she first heard the story.
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“We also were able to get the police reports from when Andrew’s body was found and we use a lot of information from various sources and put it into the movie,” she says. “Everything that Andrew Thornton is wearing when his body is found on the ground, from his Gucci loafers to his bullet-proof vest, that was all written down in the police report.”
Banks received the script in April 2020, just as the world had gone into lockdown. “We were getting into this global pandemic and I felt chaos all around me and trauma everywhere. I read this script and thought, well, there’s no greater metaphor for chaos than a bear that’s high on cocaine.”
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What really happened to Cocaine Bear?
Image: Pic: Universal Studios
An official from the Georgia Bureau of Investigation told the Associated Press at the time that Thornton fell and died as he was carrying too heavy a load while parachuting.
Before they found the bear’s body, investigators had located packages of cocaine in identical duffel bags at two other locations.
Officials said the animal, which had been dead for about four weeks by the time it was discovered, ended up eating several million dollars’ worth of the drug and that its stomach was “packed to the brim”. Each of the 40 packages was believed to have contained one kilogram, and was valued at as much as $20m (£16.7m) at the time.
In Cocaine Bear, the bear’s drug-taking leads to a gory killing spree, rather than its own death; the film takes in Thornton’s jump in the first few minutes, but the vast majority of the screentime is dedicated to what might have happened had the animal survived.
Despite the film’s comedy, the true story is tragic. Banks says her first reaction when she heard the real story was “a lot of sympathy” for the bear. “And I thought, wow, this script is actually an incredible redemption story for that bear, who was collateral damage in this crazy war on drugs.”
In real life, “Pablo Escobear” has now gained something of a cult status in certain areas in the US – and inevitably wider now following the release of the film. The animal’s body was preserved and is now on display at the Kentucky For Kentucky memorabilia and tourist store. (Thornton was from Kentucky).
“A bear dying of a drug overdose is really sad,” says writer Jimmy Warden. “This [film] was about redressing or rewriting the story for the bear, who was really the victim in this entire thing. But my objective was always just to create something that was fun. And I think that the movie definitely does it very well.”
Ray Liotta’s final performance
Image: L-R: O’Shea Jackson Jr, Alden Ehrenreich, Ayoola Smart and Ray Liotta. Pic: Universal Studios
Cocaine Bear stars Keri Russell, O’Shea Jackson Jr, Isiah Whitlock Jr, Alden Ehrenreich, Margo Martindale and Ray Liotta, in his final film performance before his death in 2022. He plays drug kingpin Syd, who is trying to retrieve Thornton’s stash with the help of his son Eddie (Ehrenreich) and fixer Daveed (Jackson Jr).
“There’s always so much vulnerability and sweetness and heart in all of his performances, even when he’s playing these extremely menacing characters,” says Ehrenreich, known for films including Hail, Caesar! and Solo: A Star Wars Story. “That really bore itself out with him personally, he was just this very sweet man and having a lot of fun.”
“Ray is a legend in the industry,” says Jackson Jr (Just Mercy, Straight Outta Compton). “As a performer, it’s a bucket-list thing to work with greats, and to be able to work with him on one of his final projects is an honour and a blessing that I think we all will cherish.”
‘Their sphincter sucks up in their seat…’
Image: Banks pictured on set. Pic: Universal Studios
Liotta’s drug lord is one of a motley crew of unfortunate people who find themselves roaming the national park, from tourists and a mother looking for her daughter, to police officers and park wardens.
Banks says there is a relatability to all the characters. “You know, the characters aren’t high on cocaine. They’re just trying to get through their day. And I loved that idea of telling this underdog story, with the big hook of the rampaging bear.”
Ah, but this isn’t entirely true. We see two curious children trying it out. Did Banks think this was controversial? “The movie’s called Cocaine Bear,” she says. “It’s a big, bold, audacious idea. And so we didn’t shy away from big, bold choices.
“I think they’re actually appropriately aged to be curious about those sorts of things. I remember I was a 12 year old girl in 1985 and I skipped school. I actually don’t think… I think they spit it all out, I don’t think they’re very high on cocaine. And if they are, it’s the only way that…” We’ll leave it there; no spoilers here.
Ultimately, Banks says she wanted to make a fun film. “I really enjoyed the power that directing this kind of visceral, tense, exciting, funny movie allowed me to have with the audience. I know because I’ve seen it with people that they have to look away, you know, their sphincter sucks up in their seat. They’re a little ill. It’s an incredible sense of power that I get to take the audience on this journey, on this ride. I’m very much enjoying it.”
At West London Film Studios – where major productions from Bridget Jones’s Baby to Killing Eve have all filmed – while Apple TV+’s Ted Lasso is currently being shot in one of their 10 sound stages (across two sites), it pains owner Frank Khalid that one of his biggest stages is empty.
“Prior to [Trump] posting that we had quite some big major features come to us looking for space,” he says, “and it’s just gone very quiet since he posted… maybe it’s a coincidence, I don’t know, but I believe it has affected us.”
Image: Frank Khalid, owner of West London Film Studios
In September, on his social media platform Truth Social, Trump wrote that America’s “movie making business has been stolen….by other countries…like…’candy from a baby’.”
Repeating a threat he’d first made last May, he claimed he’d authorised his government departments to put a “100% tariff on any and all movies that are made outside of the United States”.
For bigger studios, like Pinewood and Elstree, block-booked years in advance by the major movie producers, his words haven’t had any immediate effect.
But, at smaller studios, like Khalid’s, he certainly feels like there’s been a ripple effect.
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“We had a letter from one major big American production saying [the tariff] is not possible, [Trump] legally can’t do it… but at the end of the day, he doesn’t have to do it, the damage is done, isn’t it? By him just posting that… the confidence in the market goes down.”
As Jon Wardle, director of the National Film and Television School, explains, the industry has “always been a bit feast or famine, and we’re in a slight lull… it’s not quite the boom of what it was in 2022 after COVID, but probably at that point we were making a few too many projects.”
Image: Jon Wardle says the UK ‘needs to be more committed to homegrown talent’
Wardle says, Trump’s threatened tariffs are certainly likely to make film companies “slightly more nervous” and “dither a bit more” when it comes to signing off on projects a few years down the line.
But he says it’s important to remember that US studios have “invested hugely” in the UK.
“Disney has a 10-year lease at Pinewood, Amazon has a 10-year lease at Shepperton, the investment for those companies is massive. And the other part of this is that it’s not going to be cheaper to make those films in America. In fact, it’ll be more expensive.”
Image: West London Studios has 194,000 square feet of production space and is one of the UK’s leading independent studios
While the UK industry appears to be finding its feet after the knock-on effects of COVID shutdowns and the US writer’s strike, some smaller studios say Trump’s tariff threats are certainly on their radar.
Farnborough International Studios told us that while it has “recently hosted major TV series for companies such as Paramount and Amazon”, it has “seen film bookings and enquiries slowing down since the first sign of imposed tariffs”.
While West Yorkshire’s Production Park said they’d “not seen any slowdown”, a spokesperson for their studios said they are “tracking wider policy changes that could affect us”.
Mr Wardle says: “I think is it’s a good warning to the UK industry. I think the UK needs to take more seriously the commitment to its own homegrown talent. How do you make projects that aren’t funded and paid for by Americans or another nation?”
Image: This year’s London Film Festival
With little detail for now, few working within the industry can fathom how a tariff would deliver the happy ending of shoots returning to Hollywood that Donald Trump might desire without driving up costs and stifling investment.
“There’s a huge number of questions about how you actually make tariffs work,” Mr Wardle explains. “It seems like a silly example, but production accountants: we train production accountants and nowhere else in the world does… we planted those seeds 20 years ago and we’re now reaping the rewards.
“It’s not going to be cheaper to make those films in America… so they’ll just make less.”
While Number 10 awaits full details of the latest US tariffs and their potential impact on the UK, a government spokesperson said: “Our film industry employs millions of people, generates billions for our economy and showcases British culture globally. We are absolutely committed to ensuring it continues to thrive and create good jobs right across the country.”
Listen below to Trump100 from May where we discuss Trump’s tariff threat:
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The madness of trying to second-guess what the president might mean becomes all too apparent at an event like this year’s London Film Festival.
Mr Wardle explains: “There are films in this festival that were made in Britain and in the US, made physically in terms of the shoot in London, post-produced in Canada, with VFX done in India…. how do you apply tariffs? At what point do you do that?”
On the red carpet, actor Charles Dance – who stars in Guillermo del Toro’s Frankenstein – questioned Trump’s knowledge of filmmaking.
“I don’t think he is generally known for his own understanding of culture,” he said, “this is a man who wants to concrete over the Rose Garden.”
Rian Johnson, director of the Knives Out franchise, said it was “dark times right now in the States, for a lot of reasons”.
“All we can do is keep making movies we believe in, that matter, that say things to audiences… I think we need more of that so we’ll keep forging ahead as long as we’re able,” he said.
A BBC Gaza documentary breached the broadcasting code, an Ofcom investigation has found.
The regulator said the failure to disclose that the 13-year-old boy narrating the programme was the son of a deputy minister in the Hamas-run government broke the rules and that it was “materially misleading” not to mention it.
The documentary was made by independent production company Hoyo Films, and features 13-year-old Abdullah Alyazouri, who speaks about life in Gaza during the war between Israel and Hamas.
It was pulled from BBC iPlayer in February after it emerged that the boy was the son of Ayman Alyazouri, who has worked as Hamas’s deputy minister of agriculture.
A report into the controversial programme said three members of the independent production company knew about the role of the boy’s father – but no one within the BBC was aware.
Ofcom’s investigation into the documentary, which followed 20 complaints, found that the audience was deprived of “critical information” which could have been “highly relevant” to their assessment of the narrator and the information he provided.
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The report said the failed to disclose a narrator’s links to Hamas “had the potential to erode the significantly high levels of trust that audiences would have placed in a BBC factual programme about the Israel-Gaza war”.
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Crises within the BBC
Following an internal review into the programme, followed by a full fact-finding review the BBC’s director of Editorial Complaints and Reviews, Peter Johnston, the corporation’s director general, Tim Davie, and Hoyo Films apologised.
Hoyo films said it was “working closely with the BBC” to see if it could find a way to bring back parts of the documentary to iPlayer, adding: “Our team in Gaza risked their lives to document the devastating impact of war on children.
“Gaza: How To Survive A Warzone remains a vital account, and our contributors – who have no say in the conflict – deserve to have their voices heard.”
Israel does not allow international news organisations into Gaza to report independently.
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Describing it as “a serious breach of our rules,” Ofcom said they were directing the BBC to broadcast a statement of their findings against it on BBC2 at 9pm, with a date yet to be confirmed.
Responding to the findings of Ofcom’s investigation, a BBC spokesperson said: “The Ofcom ruling is in line with the findings of Peter Johnston’s review, that there was a significant failing in the documentary in relation to the BBC’s editorial guidelines on accuracy, which reflects Rule 2.2 of Ofcom’s Broadcasting Code.
“We have apologised for this and we accept Ofcom’s decision in full.
“We will comply with the sanction as soon as the date and wording are finalised.”
The BBC has faced numerous controversies in recent months, and just last week, former MasterChef presenter Gregg Wallace filed a High Court claim, suing the broadcaster and its subsidiary BBC Studios Distribution Limited for “distress and harassment” after he was sacked from the cooking show in July.
The 61-year-old ex-greengrocer was dismissed after an investigation into historical allegations of misconduct upheld multiple accusations against him.
The BBC has said Wallace is not “entitled to any damages,” and denies he “suffered any distress or harassment as a result of the responses of the BBC”.
Kiss founding member Ace Frehley, the rock band’s original lead guitarist, has died aged 74.
He passed away peacefully, surrounded by his family, in Morristown, New Jersey, his agent said.
He had suffered a recent fall.
A statement from the rocker’s family said they were “completely devastated and heartbroken”.
Image: Ace Frehley celebrates as Kiss are inducted into the Rock and Roll Hall of Fame in 2014. Pic: Reuters
New York-born Frehley was Kiss’s guitarist when they started in 1973.
The other members were Paul Stanley, Gene Simmons, and Peter Criss.
Like his bandmates, Frehley took on a comic book-style persona on stage (he was known as “Spaceman”) and captivated audiences with his elaborate makeup and smoke-filled guitar.
The band’s shows were known for fireworks, smoke, and eruptions of fake blood, while the stars sported platform boots, black wigs, and – of course – the iconic black and white face paint.
Especially popular in the mid-1970s, Kiss’s hits include Rock And Roll All Nite and Detroit Rock City.
They sold tens of millions of records and were inducted into the Rock and Roll Hall of Fame in 2014.
‘Irreplaceable’
Frehey’s family said they would “cherish all of his finest memories, his laughter, and celebrate his strengths and kindness that he bestowed upon others”.
Criss posted a simple tribute on X, describing his shock. He added: “My friend… I love you!”. A photograph of Frehley, smiling in his “Spaceman” makeup, accompanied the message.
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