Take That, Imaginary Liebrul Wimmen!

 It's the Day's Day of Days! Because Autumn Sonata (1978).

As usual, the cast will do anything to spite anyone who dares call them on their bullshit.

Truly, They Are The Master Race.

 It's the Day's Day of Days! Because The Serpent's Egg (1977).

The fascinating thing here is the projection--Muir is blatantly a coward living in a bubble that lets him live in his fantasy that he is a great tough warrior who would naturally dominate others. 

And so he mocks the guts of Black men who, whatever their unpleasant politics, marched at freaking Stone Mountain in Georgia.

Yeah, gazelles. Right.

A Comic D.W. Griffith Can Get Behind.

It's the Day's Day of Days! Because The Magic Flute (1975).

Yeah, I've been waiting for the ugly, racist caricatures the moment Muir pulled this shit off. But having them not understand what Black Angus is... yeah, that's underlining Muir's need to have his fictional opponents be stupider and more pathetic than him.

Which takes such a stretch.

"I Know! Let's Inform Them We're White Supremacists!"

It's the Day's Day of Days! Because Scenes from a Marriage (1973).

Watching the compound slip back into its constant state of siege during the course of this presidency sure has been something. Watching them do it while actual problems are going on that they ignore is...

Well, more something.

How Dare They Be Uppity!

It's the Day's Day of Days! Because Cries and Whispers (1972).

Astonishing that the moment it becomes black people with guns, Muir declares them a thuggish threat.

Man Projects His Own Flaws Amidst Disaster He Helped Cause; Part Infinity.

It's the Day's Day of Days! Because The Touch (1971).

This strip is a rarebit of awful--we move from Jan celebrating her destruction as an individual by the hivemind, to random swipes at Democrats that explain that they have sabotaged the nation and have nominated an evil incompetent, which of course is Muir's standard projection reaching an especially grotesque level. But what is so interesting is how powerless Muir depicts Trump in all this. It's been fascinating watching Muir's faith in the man collapse while pretending it is evergreen--he's moved from triumphalism to an ever-more crabbed paranoia throughout the last four years. At this point, I'm genuinely fascinated to see where he goes next.

But also filled with mounting dread, because it's going to be awful, folks.

"The Public Aren't Getting What I Want!"

It's the Day's Day of Days! Because Faro Document (1970).

The fascinating thing about Muir in this strip is it's hard to figure out just what he's mad about, in part because he's completely divorced himself from the actual issues of the day so he's left waving his fist at vagaries.