In his total absence of dignity and decorum, his violence and his vulgarity, he was the emblem par excellence of the Trump White House. That reports of his wife filing for divorce surfaced during his brief apotheosis completed the picture. Fast-talking and fatuous, self-important and servile, he embodied the “commedia dell’arte” of Trump’s dysfunctional crew.
.. Sebastian Gorka, a deputy assistant to Trump, who recently told the BBC that, “The military is not a microcosm of civilian society. They are not there to reflect America. They are there to kill people and blow stuff up.”
.. The Scaramouch was just a stand-in for the president he professed to love. The real “braggart and poltroon” sits in the Oval Office.
.. What but some profound sense of inadequacy could explain the neediness and the nastiness, the pout and the pettiness, the vanity and the vulgarity, the anger and the aggression? This president gets off on the humiliation of others. He is inhabited by some deep violence to which self-control is a stranger. It is almost painful to watch the degree to which he pursues self-aggrandizement. He confounds masculinity with machismo. As J.K. Rowling put it in a tweet: “You tiny, tiny, tiny little man.”
.. The transgender decision .. was, in the words of Stephen Burbank, a professor at the University of Pennsylvania Law School, “an engine of malice.” It illustrated how, “In the realm of moral leadership, President Trump is leading a race to the bottom.”
.. The police department in Suffolk County also pushed back; it would not tolerate brutality.
.. But this is the president we have: turbulent, chaotic, boastful, cowardly and violent.
Trump Is Woody Allen Without the Humor
Half his tweets show utter weakness. They are plaintive, shrill little cries, usually just after dawn.
The president’s primary problem as a leader is not that he is impetuous, brash or naive. It’s not that he is inexperienced, crude, an outsider. It is that he is weak and sniveling. It is that he undermines himself almost daily by ignoring traditional norms and forms of American masculinity.
.. He’s not strong and self-controlled, not cool and tough, not low-key and determined; he’s whiny, weepy and self-pitying. He throws himself, sobbing, on the body politic. He’s a drama queen.
.. Half the president’s tweets show utter weakness. They are plaintive, shrill little cries, usually just after dawn. “It’s very sad that Republicans, even some that were carried over the line on my back, do very little to protect their president.”
.. “The Republicans never discuss how good their health care bill is.” True, but neither does Mr. Trump, who seems unsure of its content. In just the past two weeks, of the press, he complained: “Every story/opinion, even if should be positive, is bad!” Journalists produce “highly slanted & even fraudulent reporting.” They are “DISTORTING DEMOCRACY.” They “fabricate the facts.”
.. It’s all whimpering accusation and finger-pointing: Nobody’s nice to me. Why don’t they appreciate me?
.. His public brutalizing of Attorney General Jeff Sessions isn’t strong, cool and deadly; it’s limp, lame and blubbery. “Sessions has taken a VERY weak position on Hillary Clinton crimes,” he tweeted this week. Talk about projection.
.. John J. Pitney Jr. of Claremont McKenna College writes: “Loyalty is about strength. It is about sticking with a person, a cause, an idea or a country even when it is costly, difficult or unpopular.” A strong man does that. A weak one would unleash his resentments and derive sadistic pleasure from their unleashing.
.. The way American men used to like seeing themselves, the template they most admired, was the strong silent type celebrated in classic mid-20th century films—Gary Cooper, John Wayne, Henry Fonda. In time the style shifted, and we wound up with the nervous and chattery. More than a decade ago the producer and writer David Chase had his Tony Soprano mourn the disappearance of the old style: “What they didn’t know is once they got Gary Cooper in touch with his feelings they wouldn’t be able to shut him up!” The new style was more like that of Woody Allen. His characters couldn’t stop talking about their emotions, their resentments and needs. They were self-justifying as they acted out their cowardice and anger.
..His inability—not his refusal, but his inability—to embrace the public and rhetorical role of the presidency consistently and constructively is weak... “It’s so easy to act presidential but that’s not gonna get it done,” Mr. Trump said the other night at a rally in Youngstown, Ohio. That is the opposite of the truth. The truth, six months in, is that he is not presidential and is not getting it done. His mad, blubbery petulance isn’t working for him but against him. If he were presidential he’d be getting it done—building momentum, gaining support. He’d be over 50%, not under 40%. He’d have health care, and more... He seemed to think this diarrheic diatribe was professional, the kind of thing the big boys do with their media bros. But he came across as just another drama queen for this warring, riven, incontinent White House. As Scaramucci spoke, the historian Joshua Zeitz observed wonderingly, on Twitter: “It’s Team of Rivals but for morons.”It is. And it stinks from the top.
Meanwhile the whole world is watching, a world that contains predators. How could they not be seeing this weakness, confusion and chaos and thinking it’s a good time to cause some trouble?
Is ‘Game of Thrones’ a Dystopia?
And so I snarked on Twitter that “the porn-y side of Game of Thrones helps keeps liberals deluded about why they like the show,” letting them tell themselves, “Oh, I like it because it’s deconstructing this patriarchal pre-modern world and showing how it’s sex and power all the way down.” But not so, liberals: “You like it because it lets you escape the flat dreariness of liberalism for a little while. Because deep down you want a king or queen.”
.. I think that dystopian exaggeration is in fact key to the show’s appeal to liberals in many ways. It lets you fantasize about the negation of your principles while simultaneously confirming their rightness. GoT presents a vision of a world in which illiberal instincts can be freely indulged, in which the id is constrained only by physical power. All the violent, nasty stuff liberal society (thankfully) won’t let us do, but that’s still seething in our lizard brains, gets acted out. And not just acted out — violence and brutality are the organizing principles on which the world is based.
.. the show chides you for harboring the very fantasies it helps you gratify. It wallows in their destructive consequences — makes that wallowing, in fact, simultaneous with the fulfillment of the fantasies. Will to power leads to suffering and chaos, which lead to more opportunities for the will to power to be acted upon, etc. This is a vastly more complex and interesting emotional appeal than “people secretly want kings.”
.. These shows invite liberal viewers into various illiberal or pre-liberal or just, I suppose, red-state worlds, which are more violent and sexist and id-driven than polite prestige-TV-viewing liberal society, and which offer viewers the kind of escapism that Phillips describes … in which there is a temporary attraction to being a mobster or hanging out with glamorous chainsmoking ’50s admen or leaving your put-upon suburban life behind and becoming Heisenberg the drug lord.
.. But then ultimately because these worlds are clearly wicked, dystopic or just reactionary white-male-bastions you can return in relief to the end of history, making Phillips’ “reconciliation with the existing order” after sojourning for a while in a more inegalitarian or will-to-power world.
.. But what the shows properly understood are doing isn’t a celebration of illiberalism; it’s an exploration of its attractions that ultimately confirms the liberal world and all its norms.
.. fundamentally “The Sopranos” was a story without any heroes, a tragedy in which the only moral compass (uncertain as Dr. Melfi’s arrow sometimes was) was supplied by an outsider
.. fantasy from Tolkien to the present (in both its fictional forms and role-playing varietals) partakes by its nature of romantic and reactionary themes, often scratching the same anti-modern itch as certain forms of far-right and New Age lefty politics — and perhaps the same monarchical itch as certain forms of Macron-esque centrism as well.
.. it’s a world in which the fabric of a feudal society gets rent and you root for a very particular set of noble families to regain their rightful place and help weave it back together
.. whatever their politics in this world, both the show’s bad fans and its good fans are rooting a queen or for a king.
Brutalism Is Back
Brutalism was an
attempt to create
an architectural
ethic, rather than
an aesthetic. It
had less to do with
materials and more
to do with honesty:
an uncompromising
desire to tell it
like it is,
architecturally speaking.
.. The Modern movement in architecture had supposedly been predicated on truthfulness in materials and forms, as well. But as a dreary stroll down Park Avenue will remind you, Modernism swiftly became a gutless orthodoxy, its high ideals devolving into the rote features of the International Style, a repetitive and predictable series of gestures (curtain walls or ribbon windows, recessed plinths, decorative piloti, windswept plazas, ornamental lawns and flat shimmering pools).
What was and still is appealing about Brutalism is that it had a kind of purity to it.
.. The Modern movement in architecture had supposedly been predicated on truthfulness in materials and forms, as well. But as a dreary stroll down Park Avenue will remind you, Modernism swiftly became a gutless orthodoxy, its high ideals devolving into the rote features of the International Style, a repetitive and predictable series of gestures (curtain walls or ribbon windows, recessed plinths, decorative piloti, windswept plazas, ornamental lawns and flat shimmering pools).
What was and still is appealing about Brutalism is that it had a kind of purity to it.