And then there was a little article about him in the paper. At all," Seinfeld revealed, cutting off Everett's story. All you can do is laugh."I don't like him. Beyond Trump lies nothing, a vessel as empty and selfish as government itself. Fiction exists to show us the humanity in the inhumane Veep’s superpower has always been its hatred, clean and true. Its black heart sets it apart from the scads of humorists taking puny potshots at a man begging for and immune to being made fun of. Still, by appealing to the lowest common denominator – a rapidly expanding demographic here in the States – he might just run away with the win.īy adapting through shifting social currents, and by fostering more raw malice than perhaps any other show on television, Veep has proven itself the only program capable of lampooning the otherwise comedy-proof Trump. His racism is outmatched only by his sexism, he won’t stop using the word “retarded” and he has unwittingly entered an incestuous marriage with his half-sister. This final season has refashioned him in Trump’s image, as an outsider challenger for the White House brass ring incapable of politics as usual. But over the years, through a combination of upwards failure and inadvertent zeitgeist-seizing, Ryan ascended to the uppermost levels of the third-party fringe. Timothy Simons began playing the low-level operative as something in between a creep and a boob, too stupid to do much real harm unless by accident. (See the China business mentioned above, a clear reference to Russia uncommon for a show generally resistant to one-to-one allusion.)Ī stealth MVP also emerged in Jonah Ryan, the character with the steepest arc of development over the show’s tenure. As America slipped into the early throes of a moronic variation on fascism, things grew more flagrantly unethical for Team Meyer. Instead, the writers got meaner, nastier and more jaded. The election of Donald Trump could have thrown a wrench into the show’s intricate workings, upending its understanding of an America hungover from all the talk of hope and change. Selina Meyer: a fountain of vanity behind the facade. Everyone’s building their own résumé and eyeing their next job, casting the basic work of governance in an unforgiving light as a last-person-standing contest. She insulates herself from criticism with a phalanx of yes men and women, each of them biding their time until they can sink a dagger in her back. She’s a portrait of insecurity in her private moments, her coveted power forming a cocoon of flattery from the hangers-on. The real purpose of Meyer’s work to spread good was not any sense of ethical duty as a public servant, but the propping-up of her own fragile ego. Her character traits suggested a foundation of vanity behind the facade of liberal magnanimity, that even people fighting for righteous causes like Tibetan liberation only do so out of pure self-interest. In one particularly memorable chewing-out, she compares an idiot colleague to a certain pastry used as a sex toy, in that “it doesn’t do the job, and it makes a fucking mess”. The writing staff has elevated foul language to a fine art, and Meyer got many of the most cutting lines. She drained all the nicety from leftwing politics, plastering on a smile on the campaign trail, and then regarding her constituents with open contempt once she was away from the cameras. The series began during the Obama years, and presented Meyer as the real-life president’s shadow-self in the American imagination – a Democrat who acted like a Republican (or worse) behind closed doors.
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