I am a bit disgusted today. Philip Shenon–formerly of the New York Times–has done an incredible amount of work exposing how utterly fraudulent the “9/11 Commission” actually was. It was a complete sham from start to finish. He shows us easily a hundred facts that establish how disgraceful and untrustworthy its report is. There is much laughter in the audience throughout his talk.
It is, however, not a laughing matter.
Shenon then comes to an absurd view regarding government complicity in the attacks. He firmly presses the incompetence theory, which is of course just another theory. He says things like “it was hot” in August, and people were “lazy.”
This is journalistic malfeasance, crafting specious exculpatory excuses when thousands lost their lives and endless war was launched. The idea of powerful people allowing an attack ON PURPOSE is literally unthinkable to Philip Shenon and to his entire class of lapdog professional journalists. He may be less of a lapdog today as a result of so many revelations, but…
White terrorism founded America, built the nation through slavery, and continues to be the nation’s largest domestic terrorist threat. From Redface, to Blackface, to Yellowface, to Brownface, Hollywood’s long and torrid history of white supremacy through their depiction of other races as dangerous or inferior has been a pillar of American racism at home and an integral weapon for American militarism abroad.
“We moved to Germany because we did not feel comfortable in the U.S. We felt like we were at risk here. We didn’t know what the NSA might do… These problems were consistent, and out of the blue. It felt really wrong. All the studio heads, the script was good, but then they say, ‘Okay, I’ll get back to you with numbers.’ That’s what they do. A few days go by, you don’t hear a thing. What happens? It goes upstairs to all these corporate boards that run this country, and these corporate boards all said no, because some lawyer somewhere, somebody who hates Snowden, took exception.”
“It’s a very strange thing to do an American man like this and not be able to finance this movie in America. It wouldn’t have been made [without foreign financing], and that’s very disturbing, if you think about it — its implications for any subject that is not, call it ‘overtly pro-American’… They say we have freedom of expression, but thought is financed. Thought is controlled. The media is controlled. And this country is very tight on that. There’s no criticism allowed at a certain level. You can make movies about civil rights leaders who are dead, but it’s not easy to make about a current man.”