Trump Fakes: “Fast and Furious”, foot on floor

“Trump Fictions” (3/6). The 10-film “F & F” saga, a tribute to super-powerful, fuel-guzzling cars that crush everything in their way, reflects Trump’s voluntarism: “it’s time for action”—even if it means rushing into the conflict.

On January 20, 2017, a polar wind blasted across the National Mall in Washington during the 45th President’s inauguration. The lucky winner, Donald Trump, used an apocalyptic image to take over the Republican Party and the country during an extraordinary campaign. The “American dream” has been broken up, he has never stopped trumpeting it, and his foes threaten to destroy it.

The “traitors”—Incumbent Barack Obama and defeated Hillary Clinton—must be close on the stage, immobilized and stunned. Trump pledged to imprison or hang them throughout his campaign, but he now says he wants to save America.

“The time for idle chatter is over, now is the time for action,” he told the crowd. “Don’t let anyone tell you it’s impossible,” his counselors applied to the letter by claiming against all evidence that the gathering before him was the largest ever assembled under such conditions at the end of the ceremony. Famous “alternative facts” emerged.

Fast automobiles and Hollywood have always been important to American identity, with the former shaping Hollywood’s cool image and adding aspirational accessories to film picture. Cinema represented America’s psyche; the American dream played out in multiplexes across. Anyone might become anything, and millions watched their exploits at 24 frames per second.

The reimagined Fast and Furious franchise (the eighth film opens this week) has made vehicles a status symbol nearly holy in the past decade. Always symbols of cool, boldness, and riches, they are today social mobility vehicles as well as speeding vehicles. Few would have imagined it, but a $250m macho telenovela is the best embodiment of the American dream on TV.

The series’ blue-collar heroes and varied ensemble fit the American dream narrative. Like many blockbusters, it follows ordinary men who can accomplish remarkable things, especially behind the wheel. Given their prominence as status symbols, cars are the perfect vehicle for this message. Whether you’re rich or poor, a good car sets you apart. As the series often does, it is a fantastic equalizer, showing that it doesn’t matter who you are or where you come from, only how you drive.

The main characters follow the American dream in cars, although the films are overwhelmingly male. Flashy cars are more than ever an extension of the male ego in this universe. Most heroes are men, and while female drivers are just as tough behind the wheel, complications occur when they land.

Blockbuster films fetishize women more than vehicles to maintain the masculine gaze. Close-ups of bodywork while men lick their lips are photographed with the same leery lens. For them, fast vehicles and ladies are the same. Every film finishes with a similar montage of faceless bikini-clad girls and our heroes’ automobiles. Both are just trophies.

Cars create an unexpected safe and utopian place in the series, where sexism and objectification are temporarily ignored and driving skills are all that matter. Given the extreme abuse cars and their occupants endure without a mark, this safe place is literal. In Furious 7, the cockney ninja Jason Statham and the melting potato Vin Diesel crash headfirst at high speed in a game of chicken that should be deadly, but in this universe, it’s about as dangerous as a chicken.

The series embraces the American dream in message and style, creating a blockbuster marked by dream logic over physics. Furious 7 presented three of the 21st century’s most insane blockbuster sequences in 20 minutes with the most liberal interpretation of gravity since Interstellar. After dropping five cars from a plane, the crew parachutes them into a country road. Bryan (Paul Walker) rushes along the top of a bus as it slips off a precipice before jumping to safety on another car. How can you. The finale features Dom Toretto (Diesel) jumping a car through three Abu Dhabi skyscrapers. No physics PhD is needed to recognize this is impossible.

Fantasy and enjoyment dominate this universe, not logic. Instead of a stupid joke, asking how many cars it takes to damage a cargo plane is a sensible question with the answer: three.

Remember Speed’s bus jumping an unfathomable gap? The Fast and Furious films are like a magician who witnessed that bungled sleight of hand and figured it could be better hidden by increasing the leaps of faith and speeding the cars. The bigger the show and diversion, the more viewers will accept for amusement. Dreams don’t have to make sense.

Cars are so essential to the cosmos that being inside one is like being in a church. They provide salvation, safety, and many idols. In addition to helping the team achieve the American dream, cars grab the characters when they fail.

In Fast & Furious 6’s finale, a muscle car’s homemade anchor stops Letty (Michelle Rodriguez)’s tank as they cross an elevated bridge, sending her to her demise. Dom hangs out of the car door and purposefully crashes into the bridge rails coming from the other way, saving her like a tan cannonball. He catches her and they land on a car (always a car). She asks, “How did you know there would be a car to take our fall?” He denies it. Some things require faith.”

In this society dominated by the twisted logic of the American ideal, vehicles are everything, thus these films’ characters worship them. Our heroes use them to make money and improve their blue-collar lifestyles. The weaponry they fight with give more car-on-car combat than Transformers fan fiction. They provide invincibility and escape as armor. In a fast car, everything is possible, yet the Fast and Furious franchise defies logic and physics.

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