Good Kill

A Las Vegas-based fighter pilot turned drone pilot fights the Taliban by remote control for 12 hours a day, then goes home to the suburbs and feuds with his wife and kids for the other 12. But the pilot is starting to question the mission. Is he creating more terrorists than he's killing? Is he fighting a war without end.

Drone warfare represents one of the most pressing moral and political problems of contemporary military ethics. Since the beginning of the American drone program in the late twentieth century, drone technologies have been used to conduct remote extrajudicial assassinations, to violate national sovereignty, and to conduct intrusive surveillance in contravention of international human rights norms, among other controversial uses. Today, military drones are used by dozens of military forces. As such, these technologies pose urgent questions which problematize well-established ways of thinking about central aspects of the ethics of warfare, such as justice, sovereignty, battlefield trauma, the political and physical limits of conflict, and, perhaps most prominently of all, the legitimacy of military violence. Though some of these concerns are well-worn, their central role in – and reconfiguration by – drone warfare means that they deserve serious reconsideration.

Drone warfare represents one of the most pressing moral and political problems of contemporary military ethics. Since the beginning of the American drone program in the late twentieth century, drone technologies have been used to conduct remote extrajudicial assassinations, to violate national sovereignty, and to conduct intrusive surveillance in contravention of international human rights norms, among other controversial uses. Today, military drones are used by dozens of military forces. As such, these technologies pose urgent questions which problematize well-established ways of thinking about central aspects of the ethics of warfare, such as justice, sovereignty, battlefield trauma, the political and physical limits of conflict, and, perhaps most prominently of all, the legitimacy of military violence. Though some of these concerns are well-worn, their central role in – and reconfiguration by – drone warfare means that they deserve serious reconsideration.

The creator of The Wire turns his attentions from the war on the streets to the war in the desert with this seven-part HBO miniseries following the Marines of First Recon Battalion as they attempt to survive the first forty days of the Iraq War. Based on the award-winning book by Rolling Stone reporter Evan Wright, who witnessed the confusion of war firsthand while embedded with the First Recon, Generation Kill follows the marines as they attempt to contend with equipment shortages, incompetent commanding officers, constantly shifting Rules of Engagement, and a strategy that's never quite clear. Real life Iraq War veterans Sgt. Eric Kocher and Cpl. Jeffrey Carisalez serve as technical consultants on a series featuring First Recon Marine Sgt. Rudy Reyes as himself.

The Bride, a former professional assassin and pregnant, is shot and left for dead at her wedding, by none other than her former boss Bill. She wakes up from a coma after five years, without her baby, and sets out for revenge. After regaining strength and aquiring deadly weapons, she tracks down Bill's accomplices, at the same time her follow colleagues, and kills them one after another. Among them are O-Ren, who in the mean time became the head of the Yakuza, Vernita Green, who is now a housewife, and Budd, Bill's brother, who lives a shitty life in a trailer home. Not until the very end, does she get to face her nemesis, to take revenge for all that he has done to her, only to find out about a surprising truth. But she will Kill Bill.

The first full-length album from the Groovie Mann and Buzz McCoy-led performance art/film/music collective My Life With the Thrill Kill Kult, I See Good Spirits & I See Bad Spirits came out just after the group's self-titled EP in December of 1988. A somewhat mixed affair, this Wax Trax! offering still had an impact on house dancefloors and college radio play lists with its pulsing beats and nihilistic messages of religious and cultural waste and universal darkness. On tracks like "Gateway to Hell" and "…And Is What the Devil Does," Thrill Kill trademark ornaments like obscure film samples and sneering vocals establish what would become My Life With the Thrill Kill Kult's sonic calling card.

The story takes place during three years of the Great Depression in the fictional "tired old town" of Maycomb, Alabama. It focuses on six-year-old Scout Finch, who lives with her older brother Jem and their widowed father Atticus, a middle-aged lawyer. Jem and Scout befriend a boy named Dill who visits Maycomb to stay with his aunt each …