july/august 2010

Illustrations by Guillem Casasús / Renderings by Borja Alegre

There is a cohort of close observers of our presidential elections, scholars and lawyers and political strategists, who find themselves in the uneasy position of intelligence analysts in the months before 9/11. As November 3 approaches, their screens are blinking red, alight with warnings that the political system does not know how to absorb. They see the obvious signs that we all see, but they also know subtle things that most of us do not. Something dangerous has hove into view, and the nation is lurching into its path.

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The danger is not merely that the 2020 election will bring discord. Those who fear something worse take turbulence and controversy for granted. The coronavirus pandemic, a reckless incumbent, a deluge of mail-in ballots, a vandalized Postal Service, a resurgent effort to suppress votes, and a trainload of lawsuits are bearing down on the nation’s creaky electoral machinery.

“I’m used to bullies.”

That’s a line Joe Biden has used several times during his run against Donald Trump, and he said it again recently in talking about the first presidential debate.

“I hope I don’t take the bait, because he’s going to say awful things about me, my family, et cetera,” Biden said at a virtual fundraiser. “I hope I don’t get baited into getting into a brawl with this guy, because that’s the only place he’s comfortable.” Biden expects to be able to keep his cool because, he said, “I’m used to dealing with bullies.”

The challenge for Biden isn’t simply that he’ll be facing a bully on the debate stage in Cleveland on Tuesday; it’s that he’ll be facing a man who is shameless and without conscience, a shatterer of norms and boundaries, a liar of epic proportions, a conspiracy-monger who inhabits an alternate reality. President Donald Trump operates outside any normal parameters.

Yesterday, after weeks of reports about political interference in the efforts of government scientists and public-health experts to inform Americans about the pandemic, Anthony Fauci, the director of the National Institute of Allergy and Infectious Diseases, directly addressed the two Trump-administration officials at the center of the recent controversy: Michael Caputo, a spokesperson for the Department of Health and Human Services, and Caputo’s former science adviser, Paul Alexander, who attempted to censor what scientists, including Fauci, said about the coronavirus.

“Caputo enabled Alexander,” Fauci told me over email. “Alexander is the one who directly tried to influence the CDC (he may have succeeded, I cannot really say) and even me (I told him to go take a hike).”

Two years ago, most Americans knew nothing about QAnon, the ever-growing, diffuse, and violent movement devoted to a loosely connected set of conspiracy theories, most of which tie back to the idea that Donald Trump is leading a holy war against a high-powered cabal of child traffickers, some of whom drink blood. But at the time, it was a massive problem on Reddit, where conspiracy-minded members of the Trump-themed subreddit r/The_Donald had long stoked theories such as Pizzagate, and where a QAnon subreddit called r/TheGreatAwakening had racked up 70,000 subscribers, some of whom posted hundreds of times.

Last week, new polling showed that nearly half of Americans have now heard of QAnon. But on Reddit, the movement no longer has any meaningful presence.

The first minutes of 76 Days are an intrusion into a moment so private, it practically begs the viewer to look away: A medical worker in a hazmat suit is dragged through the halls of a hospital in China, crying out for one last chance to say goodbye to her dead father, an early victim of COVID-19. Her co-workers, also in head-to-toe protective gear, are a terrifying sight. But they speak to her kindly, urging her to regain her composure because they need her to get back to work alongside them. The scene combines science-fiction spectacle with harrowing drama, and it’s both unwatchable and utterly compelling.

76 Days, which debuted at the Toronto International Film Festival this month, is the first significant piece of cinema made about the coronavirus pandemic. The documentary focuses on four different hospitals in Wuhan, China, the city where the disease was first identified. The story brings the audience into the eerie, empty corridors of a locked-down building in a locked-down city and strings together abstract glimpses of the staff’s battle against a resilient and dangerous illness. But the movie is also fascinating simply because it has a beginning, a middle, and an end—a jarring contrast to America’s experience with COVID-19, which feels as though it will last forever.