The New Yorker:

In her commercials, Kamala Harris walks a line between illuminating the issues and acknowledging the world-historic craziness of her opponent; Donald Trump targets his base.

By Vinson Cunningham

On a mid-October Sunday not long ago—sun high, wind cool—I was in Harrisburg, Pennsylvania, for a book festival, and I took a stroll. There were few people on the streets—like the population of a lot of capital cities, Harrisburg’s swells on weekdays with lawyers and lobbyists and legislative staffers, and dwindles on the weekends. But, on the façades of small businesses and in the doorways of private homes, I could see evidence of political activity. Across from the sparkling Susquehanna River, there was a row of Democratic lawn signs: Malcolm Kenyatta for auditor general, Bob Casey for U.S. Senate, and, most important, in white letters atop a periwinkle not unlike that of the sky, Kamala Harris for President. Loose pamphlets were scattered over the ground. Behind a screen door on a side street, I saw a Sharpied message scribbled with evident irritation: “NO Political Flier.” 

I was looking for a sports bar, both to watch the Eagles play the Browns—when in Rome—and to look out for any ads that might be running with the swing-state crowd in mind. The current political season, dense with incident and overcast with grim premonitions, feels more difficult than usual to take in at just a glance. Too much is happening. No ad-maker in the world could be expected to keep up with the waterfall of events: assassination attempts, abrupt abrogations, morbid rallies with ominous lighting foreshadowing a future in which the nation is one big L.E.D.-lit Death Star. And the rapid fracturing of what we’re still straining to call mass media makes it so that you can’t really be sure whether what you’re seeing on TV is the story your fellow-citizens are also following. 

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