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This week Donald Trump was put on trial by a liberal prosecutor on what seems like the most nakedly political of the multiple charges that he’s facing. This fairly pitiful scene made an interesting accompaniment to the country’s biggest movie at the moment, Alex Garland’s “Civil War,” which depicts a version of contemporary America riven by civil strife, with various secessionist forces at war against a dictatorial president who’s stayed on for a third term. That president is clearly a Trump-like figure, but the movie is extremely light on politics; it’s mostly interested in juxtaposing scenes of brutality — mass graves, tortured prisoners, firefights and summary executions — with the familiar American landscapes of shopping malls, carwashes and the pillars of the White House. We aren’t supposed to ask for detailed how-we-got-here explanations; we’re just supposed to meditate on how easily It Could Happen Here. Some people who like “Civil War” find the political lacuna admirable, since it cuts the movie free from current ideological preoccupations and lets us take the antiwar message straight.
Persons: Donald Trump, MAGA, Alex Garland’s “, who’s, it’s, we’re, Organizations: Trump, White Locations: York, carwashes
Bruce McCall, whose satirical illustrations for National Lampoon and The New Yorker conjured up a plutocratic dream world of luxury zeppelin travel, indoor golf courses and cars like the Bulgemobile Airdreme, died on Friday in the Bronx. His wife, Polly McCall, said his death, at Calvary Hospital, was caused by Parkinson’s disease. Borrowing from the advertising style seen in magazines like Life, Look and Collier’s in the 1930s and ’40s, Mr. McCall depicted a luminous fantasyland filled with airplanes, cars and luxury liners of his own creation. “My work is so personal and so strange that I have to invent my own lexicon for it,” Mr. McCall said in a TED Talk in 2008. He called it “retrofuturism,” which he defined as “looking back to see how yesterday viewed tomorrow.”
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