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<rss xmlns:nb="https://www.newsbreak.com/" xmlns:media="http://search.yahoo.com/mrss/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/" version="2.0" xmlns:dc="http://purl.org/dc/elements/1.1/"><channel><title>Government Executive - Authors - Peter Maass</title><link>https://www.govexec.com/voices/peter-maass/6748/</link><description></description><atom:link href="https://www.govexec.com/rss/voices/peter-maass/6748/" rel="self"></atom:link><language>en-us</language><lastBuildDate>Fri, 14 Dec 2012 10:34:00 -0500</lastBuildDate><item><title>Don't trust 'Zero Dark Thirty' </title><link>https://www.govexec.com/defense/2012/12/dont-trust-zero-dark-thirty/60173/</link><description>The acclaimed thriller represents a troubling new frontier of government embedded filmmaking</description><dc:creator xmlns:dc="http://purl.org/dc/elements/1.1/">Peter Maass, The Atlantic</dc:creator><pubDate>Fri, 14 Dec 2012 10:34:00 -0500</pubDate><guid>https://www.govexec.com/defense/2012/12/dont-trust-zero-dark-thirty/60173/</guid><category>Defense</category><content:encoded>&lt;![CDATA[One of the most dramatic scenes in&amp;nbsp;&lt;em&gt;Zero Dark Thirty&lt;/em&gt;, the new film by Kathryn Bigelow and Mark Boal, takes place in a conference room where the CIA team hunting Osama bin Laden is lambasted by its boss, played by Mark Strong. &amp;quot;There&amp;#39;s no working group coming to the rescue,&amp;quot; he says. &amp;quot;There&amp;#39;s nobody else, hidden away on some other floor. There is just us. And we are failing.&amp;quot; Voice filling with rage, he recounts the death toll from 9/11 and other al Qaeda attacks, shouting at his team, &amp;quot;I want targets! Do your fucking jobs, bring me people to kill!&amp;quot;
&lt;p&gt;
	Much of the pre-release&amp;nbsp;&lt;a href="https://www.nytimes.com/2012/12/09/opinion/sunday/bruni-bin-laden-torture-and-hollywood.html?_r="&gt;debate&lt;/a&gt;&amp;nbsp;about&amp;nbsp;&lt;a href="http://www.newyorker.com/talk/2012/12/17/121217ta_talk_filkins"&gt;the movie&lt;/a&gt;&amp;nbsp;has focused on whether it portrays torture as effective, in the sense of prying information out of al Qaeda suspects. Yes, the movie conveys that view, and I think it&amp;#39;s inaccurate. Many&amp;nbsp;&lt;a href="http://ac360.blogs.cnn.com/2012/12/10/zero-dark-thirty-torture-controversy/"&gt;experts&lt;/a&gt;, including&amp;nbsp;&lt;a href="https://www.nytimes.com/2012/05/01/world/americas/senators-reject-claim-that-torture-helped-hunt-for-bin-laden.html"&gt;key senators&lt;/a&gt;&amp;nbsp;who oversaw an extensive congressional investigation, have concluded that torture did not play a significant role in finding bin Laden, and that torture in general is a counter-productive way to get information from prisoners. But the heated debate on torture misses what&amp;#39;s far more important and troubling about a film that seems destined for blockbuster and Academy Award status.&amp;nbsp;&lt;em&gt;Zero Dark Thirty&lt;/em&gt;&amp;nbsp;represents a new genre of embedded filmmaking that is the problematic offspring of the worrisome endeavor known as embedded journalism.&lt;/p&gt;
&lt;p&gt;
	Unlike&amp;nbsp;&lt;em&gt;Lincoln&lt;/em&gt;, about a man who was killed a century and a half ago,&amp;nbsp;&lt;em&gt;Zero Dark Thirty&lt;/em&gt;&amp;nbsp;portrays recent events. We know pretty much everything there is to know about Lincoln&amp;mdash;all that&amp;#39;s left is to interpret the historical record&amp;mdash;but precious little about the hunt for bin Laden. That&amp;#39;s why I was not only riveted by the &amp;quot;Bring me people to kill&amp;quot; line, but curious. Did it really happen? Did the film&amp;#39;s heroine, who is called Maya, really tell the CIA director, during a meeting about bin Laden&amp;#39;s compound, &amp;quot;I am the motherfucker that found that place&amp;quot;?&lt;/p&gt;
&lt;p&gt;
	&lt;a href="http://www.theatlantic.com/entertainment/archive/2012/12/dont-trust-zero-dark-thirty/266253/"&gt;Read the entire story at&lt;em&gt; The Atlantic&lt;/em&gt;.&lt;/a&gt;&lt;/p&gt;
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