Donald Trump's film debut in STARCRASH (1978)

Long-suppressed by Trump's advisors, profoundly censored by the White House, seen by practically no one: it's STARCRASH! In 1978, Donald Trump decided that though he was rich and famous and excelled at everything, he had not yet tried movie acting. His agent Bugsy Siegel signed him to this tawdry low-budget sci-fi picture, sight unseen. Co-star Marjoe Gortner was a famous fake evangelist with a 5-minute movie career, though whether or not he was actually green (or actually an evangelist, or actually an actor) is still hotly debated in sci-fi circles. 

The following Highly Secret Conversation was tape-recorded via hidden microphone by a spy hired by George Lucas:

I gotta tell ya, it's a mistake to put me under that dome.

(director) But Mr. Trump. This is the only special effect we can afford in the picture. Besides, you won't be under the dome. It'll be added later.

Because I don't wanna look like some kid's birthday cake or a pheasant under glass. Nobody told me about all this shit, the green skin, the lobster hands.

But Mr. Trump. Isn't it an honour to play the most formidable movie villain since Darth Vader?

My guy will call your guy.

PRODUCTION NOTES. The Wizard of Oz atmosphere in this scene is only partly intentional. It just kept turning out that way.

Those lobster arms are actually asparagus spears being overcooked in a microwave, another dazzling special effect.

The backdrop for the globe/"cake dome" is a defective lava lamp that Marjoe had lying around.

There's a man with a gun over there

By the later 1930s, most U.S. journalists realized their mistake in underestimating Hitler or failing to imagine just how bad things could get. (Though there remained infamous exceptions, like Douglas Chandler, who wrote a loving paean to “Changing Berlin” for National Geographic in 1937.) Dorothy Thompson, who judged Hitler a man of “startling insignificance” in 1928, realized her mistake by mid-decade when she, like Mowrer, began raising the alarm.

“No people ever recognize their dictator in advance,” she reflected in 1935. “He never stands for election on the platform of dictatorship. He always represents himself as the instrument [of] the Incorporated National Will.” Applying the lesson to the U.S., she wrote, “When our dictator turns up you can depend on it that he will be one of the boys, and he will stand for everything traditionally American.” (Smithsonian Magazine)