Anyone who has worked in theater knows full well that the performance environment is driven by a constant injection of hyper-adrenaline & creative hysteria. This is the active substance for those who thrive on conflict as a constructed realm of the imaginary via the suspension of disbelief. Conflict is the life blood of theater, without it, there is nothing: no engagement, no story, no catharsis. To keep the narrative boiling at peak fever, every aspect of the production, from its conception to its performance, is driven by the need for crisis as a state of constant emergency.
The State of the Nation is dissolving into a memetic display of Showmanship, in which even the People’s House is transformed into a stage set for the theater of the absurd.
It happened yesterday, when legendary Tricksmeister Roger Stone, who was arrested for recklessly announcing and then lying about his Wikileaks alerts to the Campaign, emerged from the Fort Lauderdale Courthouse flashing a Make-America-Great-Tricky-Dicky-Victory-Sign, looking like a precocious contender in the World Wide Wrestling contest.
As the TRUMP SHOW continues to embed its way into the consciousness of the government, the Media, & the People, a Brave New SOMA lulls us unwittingly into complete and total submission. It’s called Shutdown.
You can think of the Wall as concrete, steel, perhaps barbed wire, cyclone fencing, or even a bale of hay: but in the XTreme TRUMPological post reality of the non-stop 24/7 continuous medial flow, the Wall that ultimately divides and disconnects us is the Wall of Mediation.
“The ideal subject of totalitarian rule is not the convinced Nazi or the convinced Communist, but the people for whom the distinction between fact and fiction… true and false… no longer exist.” – Hannah Arendt
Last night TRUMP appropriated the airwaves to stage the simulation of a speech in the real Oval Office to broadcast the performance of a faux crisis to those who have permanently suspended disbelief.