What Was America?

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In the movie titled “G20”, a suspenseful plot unfolds where a band of terrorists kidnap multiple heads of state during the Group of 20 summit, held at a South African hotel. They aim to destabilize the global economy by using these leaders as pawns. However, the story takes an exciting turn when the American president, portrayed by Viola Davis, manages to resolve the crisis through determination and violence. The irony is hard to ignore, given recent events surrounding our real-life commander-in-chief, Donald Trump, whose decisions on tariffs have caused stock market turmoil reminiscent of Stephen Stucker’s runway light antics in “Airplane!”. The main villain in “G20” is a private contractor, a disgruntled former Australian soldier, who devises a complex scheme involving deep fakes of world leaders conspiring to establish a global currency that would give them eternal power. In contrast, the current situation, as chaotic as it may be, has a certain narrative simplicity. Why create such an implausible setup when one can have the main character carry out the chaos himself?

In simpler terms, the movie “G20,” directed by Patricia Riggen and seemingly written by multiple authors, appears to be an ideal project for a Harris victory in pop culture. The film seems so confident that it would be released in another reality that the only direct mention of Danielle Sutton’s groundbreaking presidency comes as a casual comment about her working twice as hard to reach her position.

“G20” is heavily focused on institutions, even though public trust in these entities wanes during the movie’s duration and its main character gained initial fame by rescuing a child, an action that her adversary, Rutledge (Antony Starr), calls a “war for gasoline.” Despite this, the film suggests that institutions are flawed but can still make progress, as demonstrated by a Black woman becoming president, an event more significant than her actual political beliefs. These beliefs are only hinted at through vague references to policies aimed at making digital banking accessible to rural residents in Africa. The character’s Democratic leanings are suggested more by the casting of Elizabeth Marvel as her Secretary of the Treasury, who is reminiscent of a sinister Hillary Clinton figure.

Reflecting on the G20’s continued adherence to past assumptions, watching its poorly executed imitation of Die Hard featuring the President felt surprisingly melancholic. The exportation of patriotic action movies has been a long-standing American tradition, serving both as a profitable venture and occasionally a manipulative tool for bolstering influence. It’s no surprise that these films often include the president, with characters like Danielle, who draws upon her military background to explain her toughness, being just the latest in a line that includes Bill Pullman from Independence Day, Jamie Foxx from White House Down, and Harrison Ford from Air Force One. Hollywood has never shied away from combining aggressive nationalism with excessive violence, perhaps best showcased in The Patriot when Mel Gibson rouses the Continental Army troops under a Betsy Ross flag before using it to kill a horse belonging to Jason Isaacs. Despite these films serving as marketing tools and self-aggrandizing narratives for a nation whose actions have not always aligned with its self-image as a beacon of kindness and progress, they were at least created with the belief that the American identity—however flawed, crass, and brutal—was heroic.

In a surprising turn of events, we’ve moved away from the illusion of nobility so swiftly that it seems as though we’re all deceased, yet unaware our necks have been broken during the process. The portrayal of Davis, strong and refined with Juilliard-trained gravitas, descending into an elevator to battle Russian mercenaries (earning the approval of a boorish British PM and IMF head), is not just a laughable relic from a parallel universe where we persist in viewing ourselves as heroically leading the way towards a brighter future. It starkly contrasts with the frankness of our new regime, which is unabashedly slashing programs globally and domestically, treating others as adversaries to be subdued without any clear end goal other than asserting power. What was America? Davis as the American president, brandishing an automatic weapon to save the world and earn the respect of her teenage daughter, is a plausible answer, even if she’s been relegated to streaming platforms like many things nowadays. So, what are we now? Without the illusion of striving for a better future, it’s merely a smirk and an instinctive display of cruelty in the name of greatness.

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2025-04-11 22:54