The New York Times‘ own story on Judith Miller’s absurd melodrama confirms that the episode, far from rehabilitating the paper after Howell Raines-era debacles, has deepened the paper’s slide into self-important nonsense. The episode is a monument to nothingness: it revolves around a story not written, about a crime not committed, involving no source needing protection. It is no wonder Miller’s colleagues felt like booing her after she returned to the newsroom.Â
