9/11







iTunes | Download (mp3) | RSS | iPhone App Brian Wood is the author of some of the present era’s smartest comic books, including “DMZ”, “The Massive”, “Channel Zero”, and “Northlanders”. Wood’s…






I’m curious as to our readers’ opinions of Charlie Veitch, profiled by the Las Vegas Guardian Express as a former 9/11 Truther who changed his mind: Once one of Britain’s principal conspiracy…











Dissecting the forthcoming Showtime documentary by RJ Cutler, The World According To Dick Cheney, Maureen Dowd points out the unrepentant admission by ex-VP Dick Cheney that he lied when giving testimony before the 9/11 Commission. From her column for the New York Times (read the whole thing for even more lies):

…Did he change, after the shock to his body of so many heart procedures and the shock to his mind of 9/11? Or was he the same person, patiently playing the courtier, once code-named “Backseat” by the Secret Service, until he found the perfect oblivious frontman who would allow him to unleash his harebrained, dictatorial impulses?

Talking to Cutler in his deep headmaster’s monotone, Cheney dispenses with the fig leaf of “we.” He no longer feigns deference to W., whom he now disdains for favoring Condi over him in the second term, and for not pardoning “Cheney’s Cheney,” Scooter Libby.

“I had a job to do,” he said…




The art group Anti-Banality Union has created a feature-length movie which is impossible to stop watching. Fifty Hollywood blockbusters portraying the spectacular obliteration of New York City were cut up and interwoven (somehow fitting together seamlessly), revealing the meta-narrative running through them all — the “death-drive on the part of capitalist culture”:

Unclear Holocaust is a feature-length autopsy of Hollywood’s New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics…We see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World.