Errol Morris’s Wormwood

Errol Morris, Wormwood, 2017, still from a TV show on Netflix. Episode 1. Frank Olson (Peter Sarsgaard).

EVERY WHICH WAY, Errol Morris’s Wormwood is of the moment, and not only because it’s a crime series made for binge-watching. There’s the distrust of all government and law enforcement; the obsessive search for a secret or overlooked piece of information that could reveal the whole truth and nothing but the truth; and even the renewed focus on the Korean War and its aftermath.

When I began watching Wormwood (the six-episode Netflix series, rather than the roughly four-hour movie version that played briefly at Metrograph in New York and at a few other theaters), I still was in the throes of what had been a year of MSNBC obsession—not just Rachel Maddow at 9 pm, but Rachel Maddow on repeat, as well as pretty much everything before and after her show. I’m ashamed of this addiction—of the time I wasted not reading books, listening to music, or watching movies, not to mention

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