By Gary Kamiya

Salon.com – If anyone still believes that PBS has a left-wing bias, “America at a Crossroads,” the $20 million, 12-hour series about Islam, terrorism and the post-9/11 world that kicked off Sunday night, should shut them up once and for all. “Crossroads” proves yet again that five years after the 9/11 attacks, the mainstream American media still can’t bring itself to talk about the real causes of Arab and Muslim rage at the West.

“Crossroads” has its virtues, but it is fundamentally flawed. Several of its 11 independently produced films are excellent, one is positively brilliant, and most are worth watching. But few of the films break any new ground or represent an advance over the many excellent documentaries on the same subject made by Frontline, Wide Angle and P.O.V. That isn’t the real problem, though. The real problem is “Crossroads’” almost complete failure to explore the history of the Middle East, the effect of Western policies on its people, and the political and historical grievances that are largely responsible for Muslim and Arab rage at the West.

Intellectually, historically and journalistically, this is inexcusable. It’s outrageous to devote this much time and money to a subject and never deal directly with one of the central issues. It’s as if someone made a 12-hour series about the Civil War and decided to omit slavery.

By ignoring the political issues that drive Muslim rage at the West, “Crossroads” by default supports the neoconservative analysis of Islam and the causes of Islamist terrorism. And this is far more insidious, and injurious to the full national debate that the series’ producers claim they want. For “Crossroads” comes anointed as a kind of quasi-official statement about how Americans should think about 9/11, Islamist terrorism, and America’s relations with the Arab/Muslim world. As a result, it has the potential to pass its intellectual blind spots on to the American people.

One episode, a virtual infomercial for Richard Perle, a leading neoconservative theorist and architect of the Iraq war, is so laughably biased — and so unbalanced by any film giving equal time to a corresponding perspective on the left — that it taints the entire series.

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