In the wake of 9/11, a defining moment in the young 21st century, Spielberg’s thematic concerns undergo a marked evolution. As film historian Joseph McBride noted, “(n)o other American artist confronted the key events of the first decade of the century with such sustained and ambitious treatment” (450). Together, Spielberg’s War of the Worlds (2005), Munich (2005), and Minority Report (2002) create an informal trilogy, each exploring a different facet of American shock and anxiety in the War on Terror era.



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