The dotard disruption
by digby
This was the thing about Trump’s victory that has always frightened me the most. This eff-ing moron was determined to blow up the global security umbrella without any clue what he was doing and nothing to replace it with. Immature people without any knowledge of history thought that was a great idea because the US had either been “cheated” or was just as bad as the worst dictators anyway so might as well light the fuse and watch the fire.
Dean Acheson, President Truman’s Secretary of State, called his autobiography “Present at the Creation.” The title referred to the task that confronted American leaders at the end of the Second World War and the start of the Cold War, which was “just a bit less formidable than that described in the first chapter of Genesis,” Acheson wrote. “That was to create a world out of chaos; ours, to create half a world, a free half, out of the same material without blowing the whole to pieces in the process.” A network of institutions and alliances—the United Nations, nato, the international monetary system, and others—became the foundation for “the rules-based international order” that the leaders in Charlevoix saluted. It imposed restraints on the power politics that had nearly destroyed the world. It was a liberal order, based on coöperation among countries and respect for individual rights, and it was created and upheld by the world’s leading liberal democracy. America’s goals weren’t selfless, and we often failed to live up to our stated principles. Power politics didn’t disappear from the planet, but the system endured, flawed and adaptable, for seventy years.
In four days, between Quebec and Singapore, Trump showed that the liberal order is hateful to him, and that he wants out. Its rules are too confining, its web of connections—from trade treaties to security alliances—unfair. And he seems to find his democratic counterparts distasteful, even pathetic. They speak in high-minded rhetoric rather than in Twitter insults, they’re emasculated by parliaments and by the press, and maybe they’re not very funny. Trump prefers the company of dictators who can flatter and be flattered. Part of his unhappiness in Quebec was due to the absence of President Vladimir Putin; before leaving for the summit, Trump had demanded that Russia be unconditionally restored to the G-7, from which it was suspended over the dismemberment of Ukraine. He finds nothing special about democratic values, and nothing objectionable about murderous rulers. “What, you think our country is so innocent?” he once asked.
Kim Jong Un is Trump’s kind of world leader. Instead of condemning Kim’s brutal consolidation of power, Trump admires and identifies with it, as if Kim were the underestimated scion of a family real-estate business who’s quickly learned the ropes. “When you take over a country—a tough country, with tough people—and you take it over from your father,” Trump told Fox News, “if you can do that at twenty-seven years old, I mean, that’s one in ten thousand that could do that. So he’s a very smart guy.”
[…]
Power politics favors regimes accustomed to operating outside the liberal order. Asked about Trump’s desire to see Russia restored to the G-7’s good graces, Foreign Minister Sergei Lavrov was dismissive—“We never asked to be allowed back”—as if Russia were happy not to have to answer to democratic scolds. After Quebec, the German Foreign Minister, Heiko Maas, placed the United States among the rogue regimes: “Donald Trump’s egotistical politics of ‘America First,’ Russia’s attacks on international law and state sovereignty, the expansion of gigantic China: the world order we were used to, it no longer exists.” Europe is rapidly pulling away from the United States, but the European Union is weak and divided. The liberal order always depended on American leadership.Trump imagines that America unbound, shaking hands or giving the finger, depending upon short-term interests and Presidential whims, will flourish among the other rogues. After his meeting with Kim, he flew home aglow with wonder at his own dealmaking prowess, assuring Americans that they could now sleep in peace. In fact, Trump had secured nothing except the same vague commitment to dismantling North Korea’s nuclear program which the regime has offered and routinely betrayed in the past. Meanwhile, he gave up something real—joint U.S.-South Korean military exercises, which he called “provocative,” the language of totalitarian and aggressive North Korea. Without allies and treaties, without universal values, American foreign policy largely depends on what goes on inside Trump’s head. Kim, like Putin, already seems to have got there.
Maybe it’s time to change the global order. If people have better ideas about how to keep from blowing up the planet then let’s have it. What’s a better way to try to fix climate change, for instance? Or contain nuclear war? Or deal with global wealth inequality? I’m all ears. But if anyone thinks it was a fine idea to put a corrupt, authoritarian, dotard with the knowledge and learning ability of a 4 year old in charge of doing it, they are nuts. “Disruption” is a darling tech term repurposed for everything these days, but it doesn’t always work out. And the stakes in this inane disruption are very, very high.
The US is now considered a rogue nation. Great. I’m sure I will hear from many people agreeing with Trump that we always have been and others are too so who cares?
Well, that cynical facile attitude has led to some very, very very bad results.
.
. – In this bold, anarchic 1968 class struggle allegory, director Lindsay Anderson uses his depiction of the British public-school system as a microcosm of England’s sociopolitical upheaval at the time. In his breakout performance, Malcolm McDowall plays Mick Travis, a “lower sixth form” student at a boarding school (McDowall would reprise his “Travis” persona in Anderson’s (loose) sequels O Lucky Man! and Britannia Hospital). Travis leads a trio of agitators (revolutionaries) who foment insurrection against abusive upperclassmen and oppressive headmasters (i.e., the draconian System).
– This 1968 offering from the eclectic John Boorman (Point Blank, Deliverance, Excalibur, Hope and Glory) is essentially a chamber drama, set on a small uninhabited Pacific Island in the closing days of WW2. It’s a two-character tale about a pair of stranded soldiers; one Japanese (Toshiro Mifune) and the other American (Lee Marvin). The first third, a virtually dialog-free cat-and-mouse game between the sworn enemies, is a master class in physical acting by Mifune and Marvin. Eventually, necessity precipitates an uneasy truce, and the film becomes a fascinating study of the human need to connect (the adage “no man is an island” is figuratively and literally in play). The final act suggests an anti-war sentiment. It’s interesting that a film with such minimal dialog needed three screenwriters (Reuben Bercovitch, Alexander Jacobs, and Eric Bercovici). 
– Anyone who has delved into the history of royal family dynasties in the Middle Ages will attest that if you take away the dragons, witches, zombies and trolls…the rather nasty behavior on display in Game of Thrones isn’t that far removed from reality. After all, as Eleanor of Aquitane (Katherine Hepburn) deadpans in director Anthony Harvey’s historical drama, “What family doesn’t have its ups and downs?” Adapted for the screen by James Goldman from his own 1966 stage play, the story centers on a tempestuous family Christmas gathering in 1183, at the chateau of King Henry II (Peter O’Toole). All the scheming members of this family want for Christmas is each other’s head on a platter (ho ho ho!). Joining the merry festivities are Anthony Hopkins, Timothy Dalton, John Castle, Nigel Terry, and Jane Merrow. Goldman’s beautifully crafted dialog sings (and stings) and the acting is superb. The film was nominated for 7 Oscars and earned 3 (for Hepburn, Goldman, and composer John Barry).
– Directed by Jack Smight (Harper, Kaleidoscope, The Illustrated Man) and adapted from William Goldman’s eponymous novel by John Gay, this terrific black comedy pits a neurotic NYC homicide detective (George Segal) against an evil genius serial killer (Rod Steiger). While there is nothing inherently “funny” about a killer on the loose who targets middle-age women, there’s a surprising number of laughs; thanks to an overall New Yorker “attitude” and Segal’s harried interactions with his leading ladies-Eileen Heckart (as his doting Jewish mother), and Lee Remick (as his love interest). Steiger is typically over the top, but this is one of his roles where the water finds its own level…he was perfectly cast for this part. Comedy elements aside, the film is genuinely creepy and suspenseful; in some ways a forerunner to Silence of the Lambs.
– This is a textbook “movie for movie lovers” …cinema at its purest level, distilled to a perfect crystalline cocktail of mood, atmosphere and narrative. Although it is chockablock with “western” tropes, director Sergio Leone manages to honor, parody, and transcend the genre all at once with this 1968 masterpiece. 
– An underappreciated, uncharacteristically “serious” character study/social commentary from director Richard Lester (A Hard Day’s Night, A Funny Thing Happened on the Way to the Forum, The Three Musketeers). On the surface, it’s about a star-crossed affair between a young, flighty newlywed (Julie Christie) and a middle-aged physician with a crumbling marriage (George C. Scott). In hindsight, one can also enjoy it as a “trapped in amber” wallow in the counter-cultural zeitgeist of the late 60s (filmed in San Francisco at the height of the Summer of Love, no less). Look for cameos from Big Brother and the Holding Company, The Grateful Dead, and comedy troupe The Committee. Beautifully acted and directed. One caveat: Lester’s non-linear approach is challenging (but rewarding). The screenplay was adapted by Lawrence B. Marcus and Barbara Turner from John Haase’s novel. Nicholas Roeg did the lovely cinematography.
– The original 1968 version of The Planet of the Apes had a lot going for it. It was based on an acclaimed sci-fi novel by Pierre Boulle (whose semi-autobiographical debut, The Bridge on the River Kwai, had been adapted into a blockbuster film). It was helmed by Franklin J. Schaffner (Patton, Papillon , The Boys from Brazil). It had an intelligent script by Michael Wilson and Rod Serling. And, of course, it had Charlton Heston, at his hammy apex (“God DAMN you ALL to HELL!!”).
– “He has his father’s eyes!” Roman Polanski put the “goth” back in “gothic” in this truly unsettling metropolitan horror classic. A New York actor (John Cassavetes) and his young, socially phobic wife Rosemary (Mia Farrow) move into a somewhat dark and foreboding Manhattan apartment building (the famed Dakota, John Lennon’s final residence), hoping to start a family. A busybody neighbor (Ruth Gordon) quickly gloms onto Rosemary with an unhealthy zest (to her chagrin). Rosemary’s nightmare is only beginning. No axe murders, no gore, and barely a drop of blood…but thanks to Polanski’s impeccable craft, this will scare the bejesus out of you and continue to creep you out after credits roll. Polanski adapted the screenplay from Ira Levin’s novel.
– A riveting performance from Burt Lancaster fuels this 1968 drama from Frank Perry (and a non-credited Sydney Pollack, who took over direction after Perry dropped out of the project). It was adapted for the screen by Eleanor Perry, from a typically dark and satirical John Cheever story. Lancaster’s character is on a Homeric journey; working his way home via a network of backyard swimming pools. Each encounter with friends and neighbors (who apparently have not seen him in some time) fits another piece into the puzzle of a troubled, troubled man. It’s an existential suburban nightmare that can count American Beauty and The Ice Storm among its descendants.
– The mathematician/cryptologist I.J. Good (an Alan Turing associate) once famously postulated:
