Veep – Memphis Flyer

Was it really just a week ago that I was sitting up late with politics editor Jackson Baker and Flyer art director Carrie Beasley (in our own homes) waiting to decide what cover to run for our issue covering the 2020 election results? It seems a month ago now. At least.

We had three covers mocked up and ready to go to the printer, each with an appropriate photo. One was called “Biden FTW!” which we thought would have been a great reversal of our now-infamous (and eBay gold) “WTF?” Trump cover from 2016.

REUTERS | Brian Snyder

And we had one we were hoping never to have to run called “Trump Again!” with a smiling, thumbs-up-waving Don the Con. The third possibility was the one we finally chose: “Too Close to Call!”

Jackson had three versions of the lead paragraphs to the cover story ready to go. And I’d written three versions of my column. My “too close to call” column was titled “The Waiting is the Hardest Part” because, well, I like Tom Petty and why not? It turned out to be one of the most prescient things I ever wrote. I shoulda bought a lottery ticket.

I said if the ballot counting went on for several days, President Trump would do his best to sow discord and divisiveness and doubt about the integrity of our electoral process. Right on all counts.

I added: “Trump will remain in office (win or lose) until January, so there will be at least a couple more months of chaos and drama, of tweeting and conspiracy theories, and who knows what other kinds of outrages.” Bingo.

There were lots of things I couldn’t have predicted, of course — like Rudy Giuliani and a “witness” who turned out to be a convicted sex offender holding a Philadelphia press conference on a parking lot at Four Seasons Total Landscaping — next to a dildo store. That was straight out of a jump-the-shark episode of Veep.

Another thing I didn’t predict but should have been able to, in hindsight, is that the majority of the GOP leadership — national, statewide, and locally — would go along with Trump’s antics, as would most of Trump’s media allies. As a result, there has been a week-long drumbeat of lies, exaggerations, and false discrediting of the nation’s election process.

We knew, at some level, this was part of the plan. All the pre-election polling had Trump losing, so blocking people from voting became Job 1. The U.S. Postal Service was enlisted to delay delivery of mail-in ballots. The number of voting sites and drop-off boxes were systematically cut in red states. Numerous last-minute lawsuits by GOP operatives were filed to try to disqualify various kinds of ballots not cast on Election Day.

Sowing doubt on the counting process was Job 2: GOP legislatures in key states (Michigan and Pennsylvania, to name two), passed laws requiring local election commissions to refrain from counting mail-in, drop-off, and absentee ballots until Election Day, thereby ensuring several days of drama as the mandated post-Election Day count played out around the country — days that could be used to spread conspiracy theories and further incite the most rabid of Trump’s supporters.

Imagine how much angst the country would have been spared if other swing states used Florida’s system, which allows counting of mail-in and absentee ballots as they arrive. Florida’s results were basically in on election night. How great would it have been for the country to have been able to go to bed Tuesday night knowing the results of the presidential election, instead of having to wait four days? Really great, is how.

Except that would have spoiled the plan to delegitimize the electoral process, one Trump had been setting up for weeks by refusing to say that he’d accept the results of the election. And now, the game continues. No concession from the president, no work getting done. He’s just firing people, tweeting, and playing golf.

Meanwhile, Biden is almost five million votes ahead in the popular vote and has an insurmountable lead in the Electoral College. If Trump had any integrity or respect for the election process — or a grown-up brain — he’d do the right thing and concede. We shouldn’t hold our breath. My prediction is that when I’m writing my next column a week from now, he still won’t have done it.

The only question is how long will other Republicans play along to appease the Mighty Butthurt Oz.

It seems as though not enough has been made about the greatness of Julia Louis-Dreyfus and her current show, Veep, which just completed its third season — if it’s possible that an actress who has won consecutive Emmys for Outstanding Lead Actress in a Comedy Series could be considered having gone “under the radar.” Louis-Dreyfus is best known for playing Elaine from Seinfeld, the kind of career stele so monumental it threatened to overshadow anything else she’d ever do.

Her performance in Veep as U.S. Vice President Selina Meyer, 14 years after Seinfeld ended, topples that possibility. Meyer may even be a better character than Elaine — though it should be caveated that I’m the kind of revisionist who prefers Futurama to The Simpsons and The Dark Knight Rises to The Dark Knight.

The premise of Veep is that the second-most powerful person in the free world, the American VP, a heartbeat away from the presidency, is so unimportant and ineffectual a figure that they are shut out of White House decision-making, assigned humiliating tasks, and roundly ignored except for the occasional political blunder.

Paul Schiraldi

Julia Louis-Dreyfus and Sam Richardson

Louis-Dreyfus is, at the risk of hyperbole, exquisite in the role. She has the right mix of intelligence, polish, and charisma to be believable as an electable politician and attractive running mate but adds to it enough inelegance, foolishness, and insensitivity to prove she doesn’t merit anything greater. Meyers’ political ambition is matched only by her ability to unwittingly thwart it. Parks and Recreation‘s Amy Poehler is the only one in the medium who matches Louis-Dreyfus’ timing, delivery, and chops for physical comedy.

Meyer belittles her staff, cursing to a degree worthy of a sailor’s swear jar — everybody on the show does, actually. But what makes Veep‘s crudeness so endlessly enjoyable is that the characters (i.e., the actors and writers) seem to be constantly searching for the single greatest putdown a scenario can have. Veep‘s style is to keep a scene going past the point of when the critical plot information is conveyed, just to watch characters interact. The dialog is either improvisational or wielded so that it appears organic to the situation. My all-time favorite: Meyer calls the tall, unctuous White House liaison, Jonah (Timothy Simons) a “jolly green jizz-face.”

In addition to Jonah (my favorite character on the show after Meyer), the Veep ensemble is stacked with greatness: chief of staff, Amy (Anna Chlumsky); personal assistant, Gary (Tony Hale); spokesperson, Mike (Matt Walsh); political operative, Dan (Reid Scott); office administrator, Sue (Sufe Bradshaw); prez chief of staff, Ben (Kevin Dunn); strategist, Kent (Gary Cole); and Selina’s daughter, Catherine (Sarah Sutherland). There’s no duplication in personality in the group, except that they are all beloved fools and jackasses.

Veep was created by Armando Iannucci, who directed and co-wrote the amazing political-diplomatic film satire In the Loop. Though Scottish, his ear for bureaucratic idiocy is so strong — or else the notion so universal — he evinces a firm grasp of the farcical machinations and absurd argot spoken inside the Beltway.