Guerilla documentarian and anti-corporate gadfly Michael Moore wields a Swiftian satirical sword in his multi-media battle against contemporary robber barons, to whom "enough" is a dirty word. Tall, burly, bespectacled filmmaker-interviewer-personality Moore's affable manner, comforting girth, and omnipresent baseball cap adorned one of the most profitable feature documentaries ever made. An affecting yet scathingly funny expose of the devastation imposed upon Flint, Michigan by General Motors plant closures, "Roger and Me" (1989) made a celebrity and a millionaire out of the leftist journalist. Moore was the founder and editor of "The Flint Voice" (later "The Michigan Voice") and executive editor of "Mother Jones" magazine before making his feature debut as the producer, director, writer, narrator, and on-screen interviewer of this unconventional documentary. Some controversy was generated by GM's claims that Moore had "re-arranged" some of the events he recorded. In any event, he concocted a document so entertaining that it now resides in the "Comedy" section of video stores. This may explain, in part, why the Academy snubbed Moore when selecting nominees for Best Documentary Feature that year. 5 Three years and $250,000 were required to complete "Roger and Me". Warners acquired it for an estimated $3 million including $25,000 for Flint's homeless families . Moore started his own production company, Dog Eat Dog Films, and established the Center for Alternative Media, a foundation devoted to supporting independent filmmakers and social action groups. He made a short "sequel", "Pets or Meat: The Return to Flint" (1992) before venturing into TV with a summer replacement series--the irreverent "TV Nation" (NBC, 1994). Working with three partners (Columbia Tri-Star TV, the BBC, and NBC), Moore served as executive producer and anchor. He also wrote, directed, and reported for segments of the left-leaning newsmag which also aired in England. Fox TV revived the series in the summer of 1995. He segued into fiction films with "Canadian Bacon", a fanciful political satire wherein the USA declares war on its northern neighbor. Released in fall 1995, the film marked the final screen appearance of late comic John Candy. He returned to the non-fiction form for "The Big One" (1998), a sendup of corporate America.