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When Washington DC and Hollywood are reflected




The American nation crisis predates Trump, as it is an effect of the growing antagonism between old-fashioned Bible and gun populists America and the transnational elite benefiting from the most military build. formidable and costly in human history.

Often the American film industry anticipates real events and at other times projects a theatrical but not so distorted image of the national or international political situation. Some action thrillers, while seemingly incredible and cartoonish in their storylines, are more insightful than most mainstream media accounts of what goes on behind the scenes in internal circles of power.
A good example can be made of the 2013 film White House Down, which met with mixed reviews and strong disapproval in some influential circles for reasons which will become clear to the reader. The screenwriter is James Vanderbilt, a descendant of America’s famous industrial dynasty who can expect to get a side view of what’s going on in high places. He chose the German director, Roland Emmerich, known for his blockbusters full of special effects. Sony released the film nearly two years late, and it achieved decent financial success although the core theme is far from original.
In short, at the start of the film, the Capitol is blown up and the White House is taken over by an international gang of right-wing extremists who turn out to be mercenaries acting in collusion with Martin Walker, the retired head of Presidential Retail Services. secrets. who wants revenge on the president (black). The latter, James Sawyer, had ordered a botched operation on a suspected Iranian nuclear facility in which Walkers’ son, a Marine, was killed. Walker supported the clandestine strike but blames the president for failing to complete it and subsequently for defending a peace deal in West Asia, which for him amounts to criminal surrender to enemies. House Speaker Eli Raphelson is also hostile to the deal that goes against the interests of the powerful military-industrial complex and tells the president he will oppose it.
It turns out during the fast-paced plot that Walker intends to take President Sawyer hostage in order to force him to launch an all-out nuclear attack on Iran. As the head of state falls into the hands of Walker and his gang in the Oval Office, Article 25 is invoked by the cabinet meeting outside and Vice President Hammond, who has been picked up in Air Force. One by the security forces (as GW Bush was during the 911 attacks), is sworn in as president. However, the presidential Boeing is soon brought down by a missile fired on orders from the White House, the command and control center of which has been hacked by a former NSA cyber agent, a member of the occupation terror team. At this point, the third highest official in the state hierarchy, House Speaker Raphelson, is sworn in as the new president in accordance with constitutional provisions and he immediately orders a bombing of the White House in order to kill both the terrorists who are installed there and the hostages they are holding.
President Sawyer is however saved against all odds by a heroic veteran of the war in Afghanistan, John Cale, who had asked to join the Secret Service the same day. Thanks to Cale and his young daughter who had accompanied him to the White House on this eventful morning, the main terrorists and Walker are killed and the air raid on the presidential residence is called off at the last minute. Cale realized in the final stage that Raphelson is the master puppeteer of the conspiracy and that he used Walker and the hired mercenaries to achieve the larger goal of getting rid of the president, becoming the POTUS in his stead, and to cancel the peace agreement and the repatriation of American troops planned by Sawyer. When evidence of the Raphelsons’ betrayal surfaces in his presence, President Sawyer has him arrested (remove this garbage from my lawn) and at the same time learns that most governments, including Iran, have agreed to sign the peace treaty.
The references to contemporary events in this film are obvious. In 2013, Barack Obama was re-elected for a second term and was pushing the JCPOA negotiations with Iran against the furious opposition of the Republican majority in Congress and several Democrats allied to the Israeli and Saudi governments, the main foreign opponents of the treaty. considered. Prime Minister Benjamin Netanyahu was doing everything possible to undermine the deal with Iran and discredit Obama, while calling for decisive military action against the Islamic Republic. His power over the legislative branch of government brought the Israeli prime minister into direct opposition to the president, whom he unprecedentedly attacked in a plenary speech in Congress, making many observers feel that the small Jewish state held the states- United hostage to force a new war of aggression in the Middle East. In the film Emmerichs, the bloody attacks on the Capitol and the White House by extremist thugs sent by an insidious high-level insider, Raphelson representing the war lobby determined to destroy Iran against an African-American head of state were an allegory of the role of the deep state in domestic and foreign policy and they also kind of predicted the assault on Capitol Hill on January 6 this year by Trump’s hardline hillbillies and rednecks. The crisis of the American nation predates Trump as it is an effect of the growing antagonism between the American populists of the Bible and old-fashioned guns and the transnational elite benefiting from the most formidable military build and the costliest in human history, which relies on the creation of ever-increasing foreign and domestic threats in order to gain public consent. It is no coincidence that Trump, although in close cooperation with Netanyahu, also struck a Middle East peace deal and stopped before attacking the Iranian military to the chagrin of many members of the military. the political establishment. No wonder White House Down was filmed in Canada by a German director and greeted with suspicious disdain in the American establishment.

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