Tag Archives: The New Abnormal

Trump Behind Closed Doors is So Far Beyond Anything “Veep” Could Imagine.

Posted on by

While we all hold our breath and wait for the 126 Republican congress-critters and 17 state attorneys general — valiant defenders of the Constitution — to suffer any consequences for trying to overthrow a presidential election (*), I came across this item.

“Barack and Michelle are reportedly producing a comedy series for Netflix ‘based on the chaotic transition of power when Donald Trump became president in 2016’. The show, titled The G Word With Adam Conover, is a collaboration between the comedian and the former first couple’s Higher Ground Productions, based on Michael Lewis’s book The Fifth Risk, which was born out of a September 2017 Vanity Fair article. The book covers the historic chaos and mismanagement that occurred in the Departments of Agriculture, Commerce, and Energy during the handoff between the administrations.”

I spotted that story the same day Julias-Louis Dreyfus showed up on Rick Wilson and Molly Jong-Fast’s podcast, “The New Abnormal”, and where she was asked for million and first time if the Trump presidency had out-lunaticked, out-venaled and out-bungled anything they ever imagined when and her writers was shooting “Veep?” Short answer — yes. Team Trump, meaning Jared and Rudy and Ivanka, etc., has performed so far beyond (I mean, below) what “Veep’s” writers could dream up there’s talk of reviving the show based on a new lower bar for what audiences are prepared to believe about … the President of the United States.

Then there is Noel Casler, a professional “talent wrangler” who worked on “The Celebrity Apprentice” and is now flagrantly violated his Trump-mandated Non-Disclosure Agreement with tales of Trump’s chronic incontinence, his plastic girdle, Adderall addiction, halitosis, sexual predation, personal grooming, functional illiteracy and vain-glorious laziness. Stories that rival anything “Dumb and Dumber” imagined, much less ‘Veep”.

Being an admitted (former) coke-snorting rock ‘n roller, Casler’s stories don’t carry quite the credibility of say, Maggie Haberman at The New York Times. But as he points out in this interview, Trump is still president. For another month Trump can still sic The Justice Department on anyone who dares say he wears Depends. Casler also reminds us that the edges of all these stories have circulated for years and that at this point only the most delusional Trump cultist finds it hard to paint in the numbers and accept that as bad, as ludicrous and buffoonish as everything is that we can see right now, what is waiting to be told is even more clownish.

Or, as Lori Levine, one of Casler’s interviers says, “Wait a minute. Can we get back to the shitting his pants story?”

Understanding that journalism is a delicate balance of reporting-while-maintaining-access, I have no trouble — zero — believing that people like Haberman or any of the Washington Post’s White House team or CNN’s have terabytes of files of stories of Trump’s more personal dysfunctions. Stories they’ve chosen to withold until after he’s safely gone. I mean, from the Times’ perspective, is presidential incontinence a legitimate story? Heaven’s no! You can imagine the editor’s meeting on that one. The Times does not run “shitting your pants:” stories.

The accepted tradition of journalism is to ignore “private” behavior. LBJ took heat once for pulling his dog’s ears. But no one in real time — while he was in office — told the story about Johnson forcing staffers to watch him relieve his bowels or whipping out “Jumbo” to make a point about who was the biggest dog in the kennel. Likewise, JFK had to be long dead and buried before we were told he was obsessively nailing everything in skirts while supposedly guiding us to The New Frontier.

Times of course have changed, post Bill and Monica and The Blue Dress. But unlike Clinton, Trump has been so derelict in his duty, so sociopathic in his disregard for pandemic suffering and death and so complicit in protecting Vladimir Putin, his only reservoir of good will is with ‘Murica’s sad Lost Minority, the torch-and-pitchfork MAGA crowd. You knw, the bellowing mob forever pissed at the way big city elitists have played them for chumps all their lives.

Point being, even if the Biden administration decides to pass on a prosecution, or even a Truth Commission on the Trump years, popular culture is well positioned to take all the drugged-out, scatological, grifting gold that Donny and the gang have given them and make a fresh fortune out of it.

Among the 81 million in this bubble it requires no suspension of disbelief.

(*Will never happen. In fact they will proudly remind voters about it next election.)

I Answer the Question,”What Have You Been Watching?”

Posted on by

I’ve noticed how this pandemic has added a new collection of common statements and questions among people with whom my wife and I socialize, distantly. The common, nearly universal statements are along the lines of, “My god! Did hear what he said/did today?” But a common question I never before heard so frequently, is “What are you watching?”

Those with the luxury of not having to home-school, maintain full-time work obligations or tend to an ill relative have been maxing out their couch potato quota. Being both Catholic and a small town Midwesterner who grew up surrounded by Lutherans, I still have a dim view of people who watch TV in the middle of the day. The tube only comes on after … you’ve earned it. Daytime TV watching was for shut-in old ladies and alcoholics. It’s still that simple.

But after dinner, after putting up a couple hundred bales of hay … or pretending to pay attention in school, a guy out in Montevideo could kick back free of guilt.

So it is today. When paying attention to what is really happening can drive you nuts faster than insipid soaps and sit-coms.

With that in mind, and purely as a distraction, I’ve worked up a list of What I’ve Been Watching, and Listening To since the corral gate closed.

The Plot Against America (HBO). Not exactly light or escapist, but a terrific adaptation of the Phillip Roth novel, wherein (our guy) Charles Lindbergh beats FDR in the 1940 election, cozies up to Hitler and unleashes torrent of pent-up facism and anti-semitism across the land, specifically on a working class Jewish family and their neighbors in Newark, New Jersey. John Turturro and Winona Ryder are the only two name “stars”. But the production heft of the show comes from the presence of producer/writer David Simon, of “The Wire” fame and also “The Deuce”. The six-part series quite pointedly diverts from Roth’s novel in its ending. (Here’s a spoiler alert interview with Simon on his thinking.) But in its telling, the verisimilitude of the sets, locations, props are first-class Hollywood … with plotting and dialogue compliments of one of the country’s greatest novelists. It’s a statement on who covers pop culture today that “The Tiger King”, the depressing equivalent of being trapped in an elevator with a dozen MAGA grifters, received overwhelmingly more press attention. (I’ve had exactly no one tell me they watched “Plot Against … ” .)

Ozark (Netflix). Clearly the writing team behind this series spent a lot of time dissecting “Breaking Bad” for what made it so compelling. And they decided one magic ingredient was … ever escalating stress and tension. I’ve been a fan since the get-go, maybe from spending some time in the ‘Zarks and sprawling Lake of the Ozarks. (I have my souvenir “Big Johnson’s Halfway Inn” t-shirt.) But maybe mostly because it’s always had Jason Bateman and Laura Linney, two excellent if just-below-the-radar actors. (Bateman has directed several episodes.) The adventures of a corporate numbers guy from Chicago getting cross-wise with the mob and being forced to flee to oblivion … i.e. the Ozarks … where he proceeds to mix up the Missus, the kids and everyone he meets with local heroin dealers, hillbilly trailer trash, the Kansas City mob and the inevitable psychotic Mexican drug cartel, all while running a cheesy floating casino has always been fingernail-chewing fun. But it got even more desperate this season. Not to give too much away, but let’s just say Mrs. Marty Byrde (Linney) develops ambitions of her own. Favorite supporting characters: Darlene, the not so loving spouse of the local poppy farmer, and of course Ruth, Marty’s aide de camp, a child of trash with the feral cunning of El Chapo.

Westworld (HBO). The first season of this series was close to classic television. But then you get Anthony Hopkins in anything and you’ll be convinced it’s Criterion Collection stuff. The way season #1 played with the soon-to-arrive dilemma over what really is consciousness, and then, if something inorganic displays consciousness is it therefore “human”? made for a remarkably intelligent mainstream TV show. Thanks, I strongly suspect, to familial connections to acclaimed film director Christopher “Dunkirk”, “The Dark Knight Rises”, “Inception” Nolan, (his brother Jonathan and wife Lisa Joy run “Westworld”), the show has always worked off an impressive budget. (If you’re a studio exec, it can’t hurt to keep Big Nolan happy.) That said, the second season was a mess. Besides the fundamental dramatic problem of diluting suspense by having every character you gun down, chop up or set afire “rebooted” by a refreshed algorithm, the entire season was pretty much all gunning and chopping and jumping back and forth in time. The “Westworld” on-line chat rooms didn’t seem to mind. But what I felt was a series floundering and searching for the next leap up into serious, speculative science. And that element arrived four episodes into this season’s run. The almost-already-here question of gigantic data bases knowing so much more about you than you yourself know finally showed it’s face. Worse, the data bases and algorithms know so much they can “predict” your future. In effect you are living the life they permit you to live. And have I mentioned the budget for this thing? Stunning production design. I’m hanging with it.

Citizen K (Streaming on iTunes and others.) Even if you’ve heard of “the oligarchs”, the Russian tycoons who leapt in and seized control of huge chunks of the economy after the fall of the Soviet Union, you probably haven’t spent as much time with any one specific character as you do in this new documentary by Alex Gibney, Oscar-winner for “Taxi to the Dark Side”, plus “Going Clear: Scientology and the Prison of Belief”, “The Inventor: Out for Blood in Silicon Valley” and nearly a dozen others. The character here is one of the original oligarchs, Mikhail Khordokovsky, a guy who managed to corner a massive chunk of the Russian oil industry when benighted Boris Yeltsin came to the early-90s oligarchs for a loan to stave of economic collapse … and win reelection. It is simply impossible to watch Donld Trump operate and not see the guiding, mentoring hand of Vladimir Putin in his flagrant abuse of the truth and creation of a constant, competing alternative reality. Putin is the master. But unlike Trump, who is both a fool and lazy, Putin is disciplined and remorseless. Here, as Gibney tells the story of the war between Putin and Khodorkovsky, (essentially all the original oligarchs have been ruined if not killed and replaced by new oligarchs who owe everything to Putin), we understand the average Russian’s “helpless serf” need for a “strong man” to protect them from chaos. Excellent stuff.

Also, a couple podcasts that have moved up my list of faves.

“Hacks on Tap” Ex-Obama advisor David Axelrod and ex-GOP strategist Mike Murphy take 45 minutes a couple times a week to zing each other and try … try … to make some sense of the Trump administration dumpster fire. Murphy long ago bailed on any idiot who would support a certifiable nut job for the White House, so don’t expect any MAGA zealotry. But these two old pros know “the game” inside and out. Likewise they’re on speaking terms with everyone in the game today who isn’t wearing a scarlet “T” on their chest. Recent conversations brought in guests like ex-Obama Chief of Staff and ex-Chicago mayor Rahm Emanuel, who managed the entire show without dropping an F-bomb, and longtime GOP campaign operative Mark McKinnon, (the guy with the big hat on Showtime’s “The Circus.) The consensus of the latter was that Joe Biden needs to actually do this “fireside chat” idea that’s been kicking around. Sit down for an hour every week with Oprah, or David Letterman or, hell, Gail Collins from The New York Times and show America the guy this crew knows to be a regular, decent — empathetic — human being.

“The New Abnormal” Ten, twenty, thirty years from now the line, “Everything Trump Touches Dies” will be stamped like a watermark on this era, and credit will have to go to the guy who authored it, former Republican “master of the dark arts” Rick Wilson. Wilson has had two best-sellers — so far — ripping Trump, the Trump cult formerly known as the Republican party and TrumpNation, a matched set of new ones. The first book, “Everything Trump Touches Dies”, was as close to what I’d imagine Hunter Thompson doing with Trump as anything out there. And now — via his side hustle gig with The Daily Beast — (always behind the paywall) — Wilson, who lives down on the Redneck Riviera in the Florida panhandle and loves guns as much horses — has teamed up with uber New Yorker Molly-Jong Fast to deconstruct as much of Trump’s self-serving blithering as two humans can without risking strokes. The show just launched this week. But given Wilson’s high-profile on cable pundit-fests — (on MSNBC he once referred to Trump’s best-seller as “The Shart of the Deal”, a line that went over the head of the female host but cracked up other, cruder panelists) — this thing will catch on quick. And always wait for the end, where Wilson and Molly offer their picks for “Fuck That Guy” … of the week. (Georgia Gov. Brian Kemp, a truly contemptible low-life, got Wilson’s nod.)