What Tucker Carlson Is Doing in a Fake Log Cabin - The Atlantic - 0 views
www.theatlantic.com/...619411
right-wing demagogue fox news politics culture history crisis trump US GOP
shared by Javier E on 14 Jul 21
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Fox has long reinterpreted manifest destiny as a media product, treating the American mind as a vacant space upon which any dream, or any delusion, might be constructed
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America deployed as an easy branding exercise is not new. What is new, though, is the insistent ahistoricism of this version of America. Also new—and given the way propaganda has worked in the 20th century, this should serve as a dire warning—is the notion that the facts of the past should be sources only of national pride.
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“People on the right seem to be sort of sacrificing the Confederacy, to some extent, because it doesn’t do the work they want it to do,” Karp told Slate’s Rebecca Onion. “What does work is laying claim to the nation at the heart of the idea of America. Not in the old-school ‘the founders were geniuses and set aside universal freedom from everyone’ Lynne Cheney kind of a way, but in a new school way that just says, ‘America, fuck yes!’”
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the Italian novelist and semiotician Umberto Eco traveled around the United States. He embarked on a tour a bit like the one that the French mega-tourist Alexis de Tocqueville took—but this journey was focused not on what America was but on what it wasn’t. Eco produced a travelogue that explored Americans’ “faith in fakes.”
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Eco diagnosed an underlying quality of American culture: an assumption that the best kind of art and entertainment is that which is “realer than real.”
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By “people like me,” Carlson means his viewers; he means “real Americans,” as Fox has taken pains to define them. Why are the “Dems” and the “libs” to be feared? Because they are not what you are. Why are the media to be mocked? Because they tell lies about your country. They are false flags in human form. And they are coming for you.
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Carlson, too, long ago abandoned any semblance of decency. He makes claims—claims that are bigoted, cherry-picked, fabricated; claims about the dirtiness of immigrants, about the danger of vaccines, about the existential threats posed by those who are not white or male or Christian—and answers the objections with a ready reply: He is not a journalist. He is merely an entertainer. This is the cynical core of his daily performances; people who criticize him, he insists, are missing the joke. People who believe him are missing the point. Carlson’s new set codifies that logic.
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Americana, in Carlson’s vision, is its own justification. The patriot does what he must, not for Americans but for America, the ideal. “Left untended,” Carlson remarks in the concluding chapter of Ship of Fools, “democracies self-destruct.” He continues:
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There are two ways to end this cycle. The quickest is to suspend democracy. There are justifications for this. If your voters can’t reach responsible conclusions, you can’t let them vote. You don’t give suffrage to irrational populations, for the same reason you wouldn’t give firearms to toddlers: they’re not ready for the responsibility.