This week's New Yorker magazine cover takes yet another kill shot at President Trump with Harry Bliss's – In With the New – homage to Charles Addams. One might also call it a parting shot, but that's unlikely.
The eye is drawn first to the large coronavirus orb illuminating the scene where a hunch-overed President Trump fans the flames of his burning tax records, assisted by a Lurch-inspired, hair dye-stained Rudy Giuliani.
Entering from an open doorway on The Left is 2021's New Year's baby – a black baby – watched by 2020's baby, now aged and enfeebled on a Covid IV in a wheelchair, whose time has run out.
Throw in a Zoom meeting with a QAnon troll, Jared dusting cobwebs, rats scurrying to and fro, and a Clorox bottle with glasses on the fireplace mantle under a funereal wreath with an RIP-inscribed ribbon, and the portrait is complete. All the country's ills, if not the world's, encapsulated in a final portrait of the evil and grotesque 45th president on his knees.
Compare this to Charles Addams' far less vitriolic humor from 1946, where the "Addams Family" poured a vat of hot oil on innocent Christmas carolers, representing the entire country's nascent Cold War fears, not just the president in the White House. This isn't to say Trump's boorish and ego-driven personal style didn't bring much of this upon himself, but the difference and challenge is clear.
When the new administration takes power next month – and all the responsibility, decisions (and blame) shifts – will the NYT and WAPO editorial pages, Steven Colbert and Seth Meyers, Joy Reid and Whoopi Goldberg, and the entire cadre of "Resistance" torch and pitchfork hyper-partisans tear down Joe and Kamala with the same closed-minded animus and relentless zeal?
Don't hold your breath.
No comments:
Post a Comment