by Lew Rockwell, Lew Rockwell:

So, it appears the War on Populism is building toward an exciting climax. All the proper pieces are in place for a Class-A GloboCap color revolution, and maybe even civil war. You got your unauthorized Putin-Nazi president, your imaginary apocalyptic pandemic, your violent identitarian civil unrest, your heavily-armed politically-polarized populace, your ominous rumblings from military quarters … you couldn’t really ask for much more.

OK, the plot is pretty obvious by now (as it is in all big-budget action spectacles, which is essentially what color revolutions are), but that won’t spoil our viewing experience. The fun isn’t in guessing what is going to happen. Everybody knows what’s going to happen. The fun is in watching Bruce, or Sigourney, or “the moderate rebels,” or the GloboCap “Resistance,” take down the monster, or the terrorists, or Hitler, and save the world, or democracy, or whatever.

The show-runners at GloboCap understand this, and they are sticking to the classic Act III formula (i.e., the one they teach in all those scriptwriting seminars, which, full disclosure, I teach a few of those). They’ve been running the War on Populism by the numbers since the very beginning. I’m going to break that down in just a moment, act by act, plot point by plot point, but, first, let’s quickly cover the basics.

The first thing every big Hollywood action picture (or GloboCap color revolution) needs is a solid logline to build the plot around. The logline shows us: (1) our protagonist, (2) what our protagonist is trying to do, and (3) our antagonist or antagonistic force.

For example, here’s one everyone will recognize:

“A computer hacker learns from mysterious rebels about the true nature of his reality and his role in the war against its controllers.”

In our case, the logline writes itself:

“After America is taken over by a Russian-backed Hitlerian dictator, the forces of democracy unite to depose the tyrant and save the free world.”

Donald Trump is our antagonist, of course. And what an antagonist he has been! As the deep-state spooks and the corporate media have been relentlessly repeating for the last four years, the man is both a Russian-backed traitor and literally the resurrection of Hitler! In terms of baddies, it doesn’t get any better.

It goes without saying that our protagonist is GloboCap (i.e., the global capitalist empire), or “democracy,” as it is known in the entertainment business.

Now, we’re in the middle of Act III already, and, as in every big-budget action movie, our protagonist suffered a series of mounting losses all throughout Act II, and the baddie was mostly driving the action. Now it’s time for the Final Push, but, before all the action gets underway, here’s a quick recap of those previous acts. Ready? All right, here we go …

Act I

(status quo/inciting incident)

There democracy (i.e., GloboCap) was, peacefully operating its de facto global capitalist empire like a normal global hegemon (i.e., destabilizing, restructuring, and privatizing everything it hadn’t already destabilized and privatized, and OK, occasionally murdering, torturing, and otherwise mercilessly oppressing people), when out of nowhere it was viciously attacked by Donald Trump and his Putin-Nazi “populists,” who stole the 2016 election from Clinton with those insidious Facebook ads. (For you writers, this was the Inciting Incident.)

(new situation/predicament/lock-in)

GloboCap did not take this well. The deep state and the corporate media started shrieking about a coming “Age of Darkness,” “The death of globalization at the hands of white supremacy,” “racial Orwellianism,” “Zionist anti-Semitism,” the “Bottomless Pit of Fascism,” and so on. Liberals festooned themselves with safety pins and went out looking for minorities to hide in their attics throughout the occupation. According to GloboCap, every “populist” that voted for Trump (or just refused to vote for Clinton) was a genocidal white supremacist undeserving of either empathy or mercy. Somewhere in there, the “Resistance” was born. (This is the plot point known as the Lock-In, where the protagonist commits to the struggle ahead.)

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