US politics – Pain In The Bud

There’s a moment in Civil War when Kirsten Dunst’s world-weary photojournalist sits down in the ruins of a US industrial park, with tracer fire lighting up the night a few miles away, and turns to Stephen McKinley’s print scribe.

“Every time I got the photo and survived a war zone,” Dunst’s character tells him, “I thought I was sending a warning home: don’t do this. And yet here we are.”

In a movie that works on every level as a warning to the American public not to throw away what we have, what we take for granted, that one quiet moment feels like director Alex Garland speaking directly to the audience, making sure no one can miss the point. Don’t do this.

civilwar08 — Dunst, left, and McKinley share a quiet moment in an industrial park as a battle rages a few miles off. Credit: A24

The sad truth is, the United States now seem more divided than at any other point since the original civil war. We’re dangerously close to the abyss, and the people dragging us there are the most ignorant of us. They’re the people who can’t tell you the name of their own congressman and can’t articulate what the three branches of government do (or even what they are), but insist everyone listen with rapt attention as they screech incoherently about politics and demonize those whose views differ.

They’re the people who return the zealots to congress, who populate the extremes and openly fantasize about purging the country of the ideologically impure.

Civil War: Dunst and Spaeny — Kirsten Dunst, left, and Cailee Spaeny in Civil War. Credit: A24

They’ve sworn fealty to ideology, abdicating their responsibility to think about things for themselves. Because, frankly, it’s easier to pick a pundit and an alignment, construct a filter bubble in which they never have to be confronted with a fact they don’t like, and be constantly reminded how they should feel about everything from petty culture war issues to conflicts happening a comfortable distance away. That way everything remains neatly in the abstract, and the consequences are someone else’s problem.

But not this time.

Civil War’s cast is phenomenal, but much of the film’s power comes from seeing the familiar become the horrific. Garland illustrates the banality of evil by taking his characters on a journey through the war-torn east coast, past shopping plazas cratered by rocket propelled grenades, waterways filled with bodies and playgrounds on fire. One highway overpass is vandalized with a spray-painted “Go Steelers!” while the bodies of two Americans sway on ropes beneath it.

In refugee camps in Pennsylvania and Virginia, people who could be our neighbors talk quietly around fires while their kids play with soccer balls and chase each other. The film’s main characters, a quartet of journalists trying to get to Washington, DC (where we’re told presidential loyalists shoot members of the press on the spot), marvel when they ride through one idyllic small town where people walk their dogs and hang out in coffee shops as if the country isn’t tearing itself apart.

It’s only when they stop to talk to the proprietor of a small shop that they realize the illusion of normalcy is maintained by an army of sharpshooters keeping watch from the rooftops.

Garland wisely stays away from the specific ideological reasons for the civil war in favor of showing us the fallout.

The president is on his third term. He’s authorized airstrikes on fellow Americans, imprisoned dissidents, put a bounty on journalists and hasn’t offered the public anything more than teleprompter-fed remarks in more than a year. But his authoritarian grip on power is finally fractured when two fed-up coalitions of states break away from the union. The more powerful of the two, the so-called WF (Western Forces), is extremely well-equipped: a shot of one of their camps shows F-35 Raptors, mechanized infantry and heavy lift helicopters.

civilwar01 — Dunst’s character in a Western Forces camp. Credit: A24

These aren’t people living on the margins of society, armed with civilian versions of AR-15s. They’re US military, entire divisions defected in opposition to Washington with all the firepower and logistics capacity that entails. Separately, another secessionist coalition led by Florida is making its way up the east coast, seeking to turn the Carolinas and other states to their cause.

The noose is tightening around the president’s neck, even as he insists “the greatest military campaign in American history” under his command has defeated the secessionists, like Baghdad Bob in the Oval Office.

Civil War: Nick Offerman — Nick Offerman plays the authoritarian, three-term president who has ordered airstrikes on American citizens and had journalists executed. Credit: A24

As the Western Forces and Florida Alliance push toward D.C., there’s a renewed sense of urgency in symbolism. The president, Wagner Moura’s Joel says early in the movie, will be “dead inside a month.” Both coalitions are intent on reaching Washington and ending the war on July 4th.

“The optics,” Joel tells the other journalists, “are irresistible.”

Thus, the reporters decide to go after “the only story left,” which is to attempt to interview and photograph the president before he’s deposed or killed, despite the very real possibility they’ll be executed on the White House lawn before they can ask a question.

The film’s central characters are Dunst’s Lee Smith, a celebrated photojournalist who has seen it all, Moura’s Joel, the reporter who is partnered with Lee, McKinley’s Sammy, a reporter for “what’s left of the New York Times,” and Cailee Spaeny’s Jessie, a green but fearless 23-year-old who wants to be a war photographer like Lee.

Lee and Jessie meet at the beginning of the film in Manhattan, where both are photographing unrest as people crowd a disaster relief tanker, hoping to fill their containers with water. The fact that one of life’s most essential needs is no longer guaranteed, in New York City of all places, is just the first sign of how bad things have gotten.

Jessie moves in, snapping away as the crowd pushes toward the tanker and NYPD officers try to maintain order. When several people rush the tanker, Jessie gets hit in the face by someone swinging a bat.

Reeling, she stumbles away from the crowd, and Lee immediately mothers her, taking the young woman a safe distance away. She takes off her bright yellow press jacket and gives it to Jessie, then tells her: “If I see you again, you’d better be wearing Kevlar and a helmet.”

Civil War: Cailee Spaeny and Kirsten Dunst — Spaeny, left, and Dunst. Credit: A24

They do meet again, the next morning. Lee is surprised to see the younger woman in the back seat of their truck next to Sammy. Furious, she pulls Joel aside. He explains that Jessie had approached him late the previous evening, asking to tag along with him, Lee and Sammy on their trip to DC.

Joel argues that Lee was Jessie’s age when she began her career, but he’s not acting out of the kindness of his heart. He is a man, Jessie is a beautiful young woman, and he has ulterior motives.

Lee’s mouth twitches in disapproval. She sees this fresh-faced, naive 23-year-old, and sees herself before she’s become jaded from a career of documenting humans doing horrific things to each other.

Civil War would be a road trip movie, if road trip movies illustrated camaraderie by shared trauma. Pockets of violence are everywhere. Some involve presidential loyalists fending off advance elements of the Western Forces, but some are civilians who see an opportunity to kill, torture and pillage with impunity.

Dunst is magnificent as Lee, wearing the war photographer’s trauma like armor, her disgust with humanity apparent in her tired eyes. McKinley is the old-school print scribe who can’t quit, even as his body fails him.

“You’re worried I’m too old and too slow,” he tells Lee and Joel early in the film as they drink in the lounge of a Manhattan hotel, imploring them to let him accompany them south to D.C.

“You aren’t?” Lee answers.

“Of course I am,” he admits. “But are you really going to make me explain why I have to do this?”

Civil War: Wagner Moura — Wagner Moura’s Joel screams in frustration and rage after a particularly traumatic scene. Credit: A24

Here again, so much of the movie’s power is showing America in a state we only see from a distance through the dispatches and footage of war reporters. As the three of them sip their drinks in the hotel bar, waiting for their stories and photos to transmit over glacial wifi, the power drops.

“That’s every night this week,” Lee sighs.

“They’ll switch to the generators,” Sammy says.

They’re not in the shell of a formerly grand hotel in Baghdad or Damascus, relying on juice from old car batteries. They’re in New York, America’s greatest city, the cultural, media and finance capital of the world, a metropolis that operates on 11 billion watt-hours a day. A devastated, eerily quiet New York which resembles the early days of the COVID lockdown, yes, but New York all the same.

After watching Civil War, I was disheartened to see the usual rage and incrimination in discussions about the film. Depending on their political backgrounds, people are sure Garland — a native and citizen of the UK — is “a lib” or “a MAGAtard.” Opportunities for thoughtful discussion are derailed in favor of the usual talking point regurgitation.

But the hope is that the sensible are the silent majority, that we aren’t so fattened by domestic stability, security and a feeling of invincibility that we can’t see what’s right in front of our faces. We would do well to remind ourselves that the scenarios we experience only in the safety of fiction still happen all over the world.

As you read this, people are dying of exhaustion and suffering pointless deaths in North Korean and Russian hard labor camps so brutal that we don’t even have a way to place them in context. The people of Haiti are terrorized nightly by ultra-violent gangs who have filled the power vacuum, raping and executing with impunity. Gaza has been bombed to rubble, and its rubble has been bombed to sand. People hoping to escape abject poverty embark on the hard journey to America only to find themselves sold into sexual slavery. Men and women in Asia, desperate to find jobs, arrive at what they think are interviews only to be kidnapped and spirited away into compounds in lawless Myanmar, where they’re forced to sit in front of screens for 20 hours a day running “pig butchering” romance scams on lonely American retirees. If they try to flee, they’re shot.

And just yesterday, a man walked up to a golf course in Palm Beach county, pointed the muzzle of an AK-47 through the chain link fence and tried to assassinate a major party American presidential candidate — the second assassination attempt in three months.

The people who most need to hear Garland’s message are those least likely to heed it, but we can hope. Reality has a funny way of obliterating fantasy, and it’s better for all of us if our delusional countrymen don’t find out the hard way that war is neither fun nor glorious.

Let’s hope Civil War remains a movie, and not a prescient preview of things to come.

Civil War is currently streaming on HBO Max and is available to rent via Apple, Amazon and other online streaming platforms.

Header image: Western Forces units fire rocket propelled grenades at White House loyalists using the Lincoln Memorial for cover. Credit: A24

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Before a commercial publishing house sends a book off to print — especially a political memoir expected to create buzz and move copies in high volume — dozens of sets of eyes have looked over the manuscript.

The author — in this case the author and ghostwriter — her PR team, consultants, editors, fact-checkers, attorneys and test readers all have eyes on the text as they prepare it for the printers.

Thanks to Politico’s reporting, we now know several of those people — including the ghostwriter, the imprint’s editors and her own advisors — actively discouraged South Dakota Gov. Kristi Noem from including an ugly anecdote about shooting a “problem” dog in her book, but Noem was insistent on using it. She thought the story would burnish her brand and appeal to rural voters, signaling that she’s a salt of the earth type who doesn’t balk at making hard decisions.

That was an epic miscalculation, and as the fallout continues with backlash from Americans across the political spectrum, it shows the days of thoughtless disregard for animals are over in the US, at least as far as public life goes.

Kristi_Noem_(50365679196) — South Dakota Gov. Kristi Noem. Credit: Wikimedia Commons

As most people know by now, Noem wrote about how she shot a 14-month-old dog named Cricket on her family farm for “ruining a hunt” and going after a neighbor’s chickens. Cricket, Noem wrote, was “worthless as a hunting dog” because she got overly excited and went into sensory overload during a pheasant hunt that Noem wanted to be memorable for a group of guests.

“I hated that dog,” she says in the book, via her ghostwriter, before describing how she dragged the excited puppy out of her truck and into a gravel pit, then ended the Cricket’s 14-month-old life with a gunshot to the face.

In a series of disastrous interviews over the past week, Noem has tried to reframe the story as an example of the hateful “fake news” media digging for dirt on her, but not only did the South Dakota governor enthusiastically include the dog-killing story in her new book, she was so confident it would win her points that she used the story as a teaser in social media posts and other marketing for No Going Back. (It’s her second book and follows 2022’s Not My First Rodeo: Lessons from the Heartland. Noem really wants people to think she’s the embodiment of a Yellowstone character, a CrossFitting avatar of the real America.)

Noem thought she’d be hailed as the farm girl hero she wants to be, an image she’s cultivated during a political career that’s taken her from the state house to South Dakota’s lone congressional seat and, in 2019, the governor’s mansion.

I’ve spent my entire life in urban and suburban environs and I’ve essentially taken a Jainist attitude toward animal life. I’ve never hunted an animal and never will, so I’ll defer to longtime South Dakota scribe and hunter Kevin Woster, who thoughtfully writes about the experience of raising hunting dogs and the challenges it involves.

Woster believes Noem put a puppy in situations that would challenge even an experienced hunting dog, says the dog’s “shortcomings” were the fault of her owners, and thinks the dog could have had a long and happy life with a little patience and love. (It’s also worth pointing out that by killing chickens, the dog was doing precisely what Noem trained her to do. It’s not the dog’s fault Noem didn’t differentiate between the types of birds she wanted Cricket to attack.)

Other rural scribes have echoed those sentiments and pointed out that even on farms, being forced to kill an animal is a solemn and personal thing. Even if Noem had justification, it’s one thing to handle a regrettable situation and another thing entirely to choose to celebrate it in a memoir, even using it as a marketing teaser.

Politics is performative, and Noem isn’t alone in that respect. Here in New York our disgraced former governor, Andrew Cuomo, speaks in a heavy New York accent that borders on parody. During the pandemic, he once interrupted Dr. Anthony Fauci to muse about how Fauci was the “Al Pacino of COVID” and Cuomo himself was the Robert DeNiro of the killer virus, then derailed an explainer on safety measures to wax poetic on the Italian bakeries of the Bronx’s Arthur Avenue and “the old neighborhood,” as if Cuomo grew up playing stickball on the street in Brooklyn instead of ping-ponging between New York, D.C. and Albany when his dad was a three-term governor.

George W. Bush, the scion of a generational political family and son of a former president, grew up in Connecticut. But he wanted the American public to see him as a cowboy, so he affected a Texas accent, peppered his speech with folksy-sounding nonsense and famously landed a fighter jet on an aircraft carrier to declare an end to the Iraq War on May 1, 2003, 18 years before the last US combat units left the country.

Politicians put on these costumes because voters respond to them. But the backlash against Noem — who’s now banned from 20 percent of the land in her own state and also in hot water for allegedly inventing anecdotes about North Korean dictator Kim Jong Un, French President Emmanuel Macron and former UN Ambassador Nikki Haley — proves that, like a prince choosing to don a Nazi uniform for Halloween, a politician’s choice of costume says a lot about her judgment and values. In this case even the people of America’s heartland, the voters Noem was condescending to with her book, were horrified by the ambitious governor’s callous disregard for animal life.

The fallout has apparently destroyed any chance that Noem could be chosen as a vice presidential candidate on the Republican ticket, and term limits mean the sun is setting on Noem’s time as a “public servant.” Good riddance.