One project did indeed strive to help America understand. The article neglects to mention the miniseries The Path to 9/11, a docudrama which drew 27 million viewers on the fifth anniversary of the attacks. A $30+ million project that aired on two September nights in 2006, The Path to 9/11 dramatized the historical thread that connected the 1993 bombing of the World Trade Center, Islamic attacks on American interests throughout the ‘90s, and the terrorism of that fateful morning in 2001. Drawing upon The 9/11 Commission Report and other reliable sources, it connected the dots for audiences more thoroughly and accurately than any Hollywood project before or since, and had been slated for use as an educational tool in schools across the country.
But Clinton administration alumni, fearful that any portrayal of their flaccid response to the rising tide of Islamic terrorism in the ‘90s would tarnish their legacy, lashed out hard; ABC/Disney never aired that controversial miniseries again and still refuses to release it on DVD due to political reasons (check out the documentary Blocking the Path to 9/11 for the whole outrageous story).
Meanwhile, the bulk of Hollywood’s 9/11-related output supported the left’s narrative that America’s own hegemonic geopolitical meddling, not global jihad, is to blame for Muslim rage. Movies like Syriana with George Clooney, Traitor starring Don Cheadle, and Body of Lies featuring Leonardo DiCaprio all portrayed the CIA as no better than our enemy, and Muslims as victims of Western imperialist greed.
Tied closely to Hollywood’s depiction of the war on terror was its perspective on the war in Iraq. The Times article claims that Hollywood’s seeming reluctance to deal in a meaningful way with 9/11
might have something to do with the lessons learned from the failure of a slew of movies about the Iraq war — audiences would rather not pay to see a film about an event that is too close, too painful or has been too well covered by the media.
In fact, the Times and Hollywood itself remain clueless about the most glaringly obvious reason that slew of flicks failed. It wasn’t because the events are too close or too painful, but because every one of those box office duds – Matt Damon’s The Green Zone, Tom Cruise’s Lions for Lambs, Sean Penn’s Fair Game, In The Valley of Elah, Stop: Loss, Rendition, Redacted, The Hurt Locker and more – every one depicted the war as a Bush administration deception and/or our soldiers as traumatized, walking time bombs.
American audiences rejected that message. They have been repelled by Hollywood’s messages of moral equivalence and flagellating self-guilt, its disrespect and pity toward our warriors, and its refusal to celebrate American values and to take a patriotic stance in our war with Islamic fundamentalists. That’s why Hollywood has spent ten years failing at coming to grips with 9/11 and its aftermath.
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To get the whole story on why Hollywood leftists sympathize with enemy death cults, read Jamie Glazov’s book, United in Hate: The Left’s Romance with Tyranny and Terror.
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