Elections; 2024 by THG

REAL WORLD EVENT DISCUSSIONS

Elections; 2024

POSTED BY: THG
UPDATED: Tuesday, December 17, 2024 18:48
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Friday, December 6, 2024 7:07 AM

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

Trump’s Fans Are Suffering From Tony Soprano Syndrome

Some conservatives are embracing the villains in what are supposed to be cautionary tales.

By Adam Serwer | December 5, 2024, 2:35 PM ET https://www.theatlantic.com/author/adam-serwer/

https://www.theatlantic.com/ideas/archive/2024/12/elon-musk-judge-dred
d-autocrat/680881/

In every Judge Joe Dredd story I’ve ever read, there is at least one almost comically obvious moment when the author makes clear that the protagonist is a jackbooted fascist and not someone to admire. This may come across to the average reader as heavy-handed, but when the richest man in the world misreads the character as heroic, you can see why such heavy-handedness is sometimes necessary.

Shortly before former Representative Matt Gaetz of Florida withdrew his nomination for attorney general, Elon Musk posted on X that Gaetz was the “Judge Dredd America needs to clean up a corrupt system and put powerful bad actors in prison.” Generally speaking, one’s model for justice should not be a fascist invented in part to illustrate the distinction between elite impunity and the brutality that ordinary people face. (Were Dredd’s zero tolerance for lawbreaking evenly applied to obscenely wealthy scofflaws like Musk himself, it would surely be less appealing to him.)

Musk’s media illiteracy is not particularly shocking—it seems to be part of a broader trend tied to the rise of Donald Trump. Genre stories that are meant to highlight the dangers of fascism, cruelty, or selfishness instead end up being misinterpreted or even condemned by those who find fascism appealing or see cruelty and selfishness as aspirational virtues.

The messaging in Dredd stories verges on didactic, but it also assumes at least a tacit objection to fascism in the reader. One of the series’ co-creators, Pat Mills, has said that his model for Dredd and the other judges was the monks at his parochial school, who subjected children to physical or sexual abuse. The stories are set in a dystopian future where several “megacities,” surrounded by a radioactive wasteland, are ruled by draconian judges. Initially established by the character of Eustace Fargo in response to rampant street crime, this judge system empowers its agents to convict and sentence those they deem criminals, and simply kill many of the people they encounter.

As mentioned, the implications of these stories are not exactly subtle. In one 2019 story arc, The Small House, Dredd confronts Judge Smiley, the Justice Department’s chief of black ops, over Smiley’s use of invisible assassins to murder democracy activists in Mega-City One. Dredd’s main objection to Smiley’s operations, it seems, is that Smiley’s assassinations are not following proper protocol. Dredd has no moral objection to killing democracy activists, but it has to be done by the book. Smiley calmly explains to Dredd, “We’re fascists. We rule. It’s the only way we can survive in this irradiated, dead world.”

Dredd is a true believer in the judge system, and as such lacks the corruption of his contemporaries. This renders him ethically superior only to the other fascists, however; he is an unthinking armed goon who would never allow the system to be changed just because the majority would prefer it. He acts fanatically in service to the unjust system he upholds, not to any larger ideals of honor or integrity. In the 2006 storyline Origins, a cryogenically frozen Fargo is briefly thawed and begs Dredd to undo the judge system. “It was never meant to be forever,” Fargo pleads, just before dying. “We’re the monster, we got greedy—wanted everything—so we killed the dream Joe, we killed America!” Dredd, being Dredd, ignores Fargo’s pleas and, when asked later about Fargo’s last words, says Fargo wanted him to “keep the faith,” forever burying Fargo’s wish to end the judge system in favor of democratic rule.

As Trump reshapes the nation in his image, some of his supporters seem inclined to turn cautionary tales on their head, empathizing with villains or antiheroes to such a degree that they miss the point of these stories entirely, even when the writers make the message as clear as possible. We might call this problem Tony Soprano Syndrome, after the patron saint of flawed antihero protagonists. One undecided voter told a New York Times focus group earlier this year that Trump is “the antihero, the Soprano, the ‘Breaking Bad,’ the guy who does bad things, who is a bad guy but does them on behalf of the people he represents.”

Almost every single thing here is wrong, but it’s wrong in a way that illustrates the illiteracy that I am talking about. The Sopranos is by any measure one of the greatest television series of all time, focusing on the daily travails of a mob boss who tries to balance his mental health with keeping his marriage together and raising his children. But Tony is a murderer whose greed and ambition harm the people he claims to love. He is not a moral exemplar, nor is he intended to be; his selfishness helps no one else and is destructive to all around him. The same is true of Walter White, the protagonist of Breaking Bad, who at one point in the show literally looks at the camera and says of his crimes, “I did it for me.”

Again, the creators could not be more clear that these characters are horrible people whom others should not seek to emulate. There is a difference between thinking Darth Vader is an awesome character in the fictional context of Star Wars and, you know, wanting to be like Darth Vader, a psychotic child-killer. Quite similarly, Trump could not be more clear that he is out for himself, seeking the power of the presidency to enrich himself and his allies, protect himself from legal jeopardy, and bask in the cult-like adulation of his followers. But fans of Tony or Walter, living vicariously through the power and cruelty of the object of their admiration, invert the moral implications of those characters’ stories such that selfishness and malice are justified or laudable. In the same way, Trump supporters treat the real-life Trump, who seeks power for his own gain, as a fictionalized Trump whose vices are in service to a selfless cause.

Tony and Walter are also aspirational figures for a certain type of man experiencing a certain type of midlife crisis because, despite their body aging and their looks fading, they can still shape the world around them with a seemingly infinite capacity to endure or inflict violence. They want to tell themselves they’re protecting something—home and hearth perhaps—but actually want to validate themselves with a justification for hurting someone else, even if they have to invent one.

This is one reason the actor Anna Gunn, who portrayed Walter’s wife, Skylar, drew an intense backlash—she was the embodiment of the nit-picky wife whose jealousy held her husband back from greatness (as a murdering meth kingpin).

Walter represents the emotional state of a particular type of viewer—someone who wants to enjoy his ability to make himself feel good through violence and suffering, and doesn’t want his good time spoiled by a mouthy woman reminding him that the things he is doing are actually bad. This type of reactionary masculinity is itself emblematic of the Trump era, as if conservatives listened to feminist critiques of “toxic masculinity” and decided to shear all virtue from their conception of traditional manhood and retain only those parts that involve dominance and exploitation of others.

Examples abound. Last year, another heavy-handed comic-book adaptation, the television series The Boys—about a covert-ops group that targets the irresponsible corporate-produced “supers” who kill more people than they actually save—made its criticism of fascism so overt that many of its fascist-sympathetic fans began to get upset. These fans complained that the show had gotten “woke” once the plot began to more plainly illustrate the political points it had been making all along, to the dismay of those fans who were living vicariously through the antagonists’ acts of cruelty.

Similarly, the creators of the murderous Marvel Comics’ vigilante the Punisher have repeatedly clarified, to no avail, that, despite possessing some virtues, the character of Frank Castle is not a good guy. In addition to being a murderer, he is occasionally portrayed as a fascist. During the Civil War storyline, Castle is told off by his idol, Captain America, who describes Castle as “psychotic,” fulfilling a “twisted notion of justice.” The Punisher creator Gerry Conway has called the embrace of Punisher iconography by real-life armed agents of the state “disturbing,” because “the Punisher represents a failure of the Justice system. He’s supposed to indict the collapse of social moral authority and the reality [that] some people can’t depend on institutions like the police or the military to act in a just and capable way.”

The collapse of trust in institutions is one of the stories of the past decade or so. But so is this moral degeneracy, motivated by the need to ideologically justify the place of a corrupt authoritarian strongman in the most powerful government in the world. What looks like declining media literacy may be something much worse—an affirmation of the underlying values in dystopian literature that inevitably lead to the dystopia itself.

The Joss Whedon script for Serenity, where Wash lives, is Serenity-190pages.pdf at https://www.mediafire.com/two

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