Why Incredibles 2 reminded me of the dark world of Steve Bannon | Alex Clark
As the world was taking advantage of a special offer for deluxe seats on a chartered handcart bound for an all-inclusive trip to hell, I took myself off to the pictures in the middle of the day. What else are you going to do? My placard-making abilities are limited, and my mind and feet are weary.
So, to the soft velvet hush of the auditorium, and the delights of an afternoon Magnum. And to the follow-up to Brad Bird’s 2004 animation The Incredibles, a film in which a husband and wife superhero team take on baddies galore by way of a sleek 1950s aesthetic and costumes styled by a memorable amalgam of Edith Head and Comme des Garçons’ Rei Kawakubo. We are used to the idea that culture reflects the times we live in, and that if those times are particularly interesting, it may reflect them in unexpected ways. Thus, the villain of Incredibles 2 will strike a chord: a gimp-masked fellow called the Screenslaver, whose evil plan is to hypnotise a society addicted to the consumption of events – news, art, sport – through the devices it is unable to see beyond. In a week that has seen the frequent invocation of the film The Manchurian Candidate in relation to Donald Trump in Helsinki, this seems less and less far-fetched.
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