The New Yorker drives home a point — it’s all play-acting with Prznint Stupid:
The President is a talented performer who plays an exaggerated version of an idea of who he is. On “The Apprentice,” he played what he thought a wildly successful real-estate developer would be like. He made inane pronouncements with great aplomb, and, as my colleague Patrick Radden Keefe wrote, in a Profile of the creator of “The Apprentice,” Mark Burnett, Trump made bizarre decisions that the makers of the show then scrambled to make look credible in the editing room. When the show started, Trump was a has-been, an occasional butt of tabloid jokes; by the time it ended, he and the audience both believed that he was one of the wealthiest and most successful businessmen on the planet. That, in turn, made his Presidential campaign if not immediately plausible then at least imaginable.
A power grab is always a performance of sorts. It begins with a claim to power, and if the claim is accepted—if the performance is believed—it takes hold. Much as he played a real-estate tycoon in the most crude and reductive way, Trump is now performing his idea of power as he imagines it. In his intuition, power is autocratic; it affirms the superiority of one nation and one race; it asserts total domination; and it mercilessly suppresses all opposition. Whether or not he is capable of grasping the concept, Trump is performing fascism.
This has the ring of truth to it: Lord Damp Nut is a fool and a tool, and everything he does is only to feed his fragile ego. He wants to be seen as a success, but he’s bankrupted every business he’s touched. He wants to be seen as the all-powerful boss, but he makes someone else fire underlings. He wants to be perceived as a strongman, but he hides in a bunker less the peaceful protesters get him.
He’s a fake fascist, too as the article says but maybe it’s a distinction without a difference if we end up in a fascist state because he wants to play-act as Putin.