In the wake of the storming of the Capitol by Trump Insurrectionists, Wonder Woman 1984 seems extraordinarily prescient, and here’s why.

!!WARNING – CONTAINS SPOILERS!!

When I first watched the latest offering from Patty Jenkins, Gal Gadot and the DC Universe, I admit there was something I didn’t get. Though its opening scenes featured the soaring golden sunlight of Themyscira, and Lily Aspel reprising her role as the young Diana in a gripping action sequence, it then came to 1984 Washington DC. On first viewing I couldn’t work out why.

The hoodlums the Themysciran Goddess wipes the floor of a glitzy shopping mall with in the establishing action sequence seemed slight in contrast to the sombre trench warfare horrors of her first cinematic outing. But I soon realised the flat shadowless colour register straight out of ET, Trading Places and even Superman III revealed subtler horrors – and more urgent one in the context of the modern day.

The very first shots in the mall sequence show a consumer chomping down on a fat greasy burger, while older men exchange glances at the imagined invitation presented by the lycra-pinched posteriors of dancers sacrificing dignity to sell product. That Mall is no coincidence – because this film is all about consumerism, greed, desire and what happens when you ignore the consequences of wanting something to be true so hard you ignore reality.

The villain of this story is Maxwell Lord, portrayed here as a wannabe billionaire willing to offer the masses whatever they want so he can get ahead. The film is awash with parody of phoney self-help products, selfishness, greed and dishonesty – to oneself and others. Lord himself is associated with images of gold and wealth from the very start…

Sound familiar? Those themes are exactly the themes that have blighted America in the last four years – and if you still doubt this is its intention, the film is pretty explicit about which modernday swindler it is targeting.

The dialogue is revealing. When a disgruntled investor calls Maxwell Lord a conman, Lord defines exactly who he thinks he is: “I am not a conman! I am a television personality and a respected businessman…” And just in case you missed the reference, he says this from beneath a mass of bouffoned hair with just a hint of gold, while striding around in an ’80s powersuit.

One of Trump’s favourite insults is spoken through Maxwell Lord’s mouth. When the same investor calls Lord a loser in front of his son, he turns to his boy and tells him, “I am not a loser. He’s a loser!” Anyone who has seen Trump’s tweets knows that one well enough, and they will also recognise his accusation that anyone criticising him is in a conspiracy driven by jealousy – another straight lift from real life.

More of Trump’s false dreams and promises appear as the movie goes on. Take, for example, the sudden appearance in the Middle East of a wall that comes from nowhere at the behest of a fanatical Egyptian royal who wants to reinstate his ancestral realm.

The emir wishes “for all the heathens that have trod upon it to be kept out forever so that its glory may be renewed.” – Really?!? A MEGA movement to Make Egypt Great Again!?! One which excludes foreigners and anyone not from the “in” group? How apt!

In response to this wish of a nationalistic dreamer, a giant wall is created around the lands, described by a reporter’s voice/over as: “A bizarre phenomenon… called the Divine Wall. it’s an unexplainable event that now sees Egypt’s poorest communities entirely cut off from their only supply of fresh water…”

As well as making a wider point about the obviously divisive nature of wall building, one can’t help asking: is this wall a mirror image of the notorious Israeli separation wall that keeps Palestinians penned in with restricted water supply? Or is this an echo of those who died of dehydration crossing the Mexico-US border?

In the DC Universe the tyrant actually gets the wall he dreams of, and nobody pays for it. Except the whole world. But that’s later.

Such Trumpian echoes, and, for example, the thumbs-ups from Lord, occur throughout the movie. Seen in this way the allegory of the Trumpian wannabe dictator who breaks all the rules is absolutely clear. Just before the film enters its third act, Lord arrives in the Whitehouse and discovers that POTUS wants “more” – in this case, more nuclear weapons. His wish is granted.

In return, Lord steals the powers and command of POTUS: “You know what I’d like? I would want all of your power, influence, authority, all the respect you command – and the command everyone must respect! I mean what else is there?”

And then, for all those who have accused Trump of collusion with Russia and other foreign powers, another telling line: “Now, tell your people I would appreciate absolutely no interference whatsoever. No taxes, no rule of law, no limits. Treat me like a foreign nation, with absolute autonomy.”

And so, the Whitehouse is taken over by a businessman whose only interest is to serve himself.

In amongst all of this, the co-supervillain, Barbara Minerva, aka Cheetah begins her own descent into cruelty and selfishness due to the corrupting influence of the Wish Stone. Initially a meek and mousey woman, she becomes a ruthless psychotic cat-creature by the end of the movie.

Let’s face it: a sweet-looking blonde bombshell who is actually a brawler and bruiser willing to do anything to protect her impostor leader seems eerily familiar to anyone who has seen Kayleigh McEnany, Kelly-Anne Conway or Hope Hicks at work spreading lies and misinformation.

The movie’s final scenes had a shocking resonance after the horrors of the Capitol Insurrection. In Wonder Woman 1984, the streets of not only America, but the world descend into chaos as the utter selfishness Lord unleashes with no regard for reality.

But this is not the only way in which Wonder Woman 1984 captures the nuances of the disastrous Trump administration. Placing the film in the 80s points directly at the roots of consumerism and greed, of aspiration without an acknowledgement of responsibility and a divorce from the cause and effect that relentless selfishness and shortsightedness has on society today. In fact, the very era when Trump first rose to major prominence.

The story accelerates toward the end, as we see Lord, the presidential interloper using television to get his message across to the whole world. He promises people whatever they want throughout, while his own power grows and grows as he takes something away from each person trapped by their unrecognised Faustian pact. The metaphor of a charismatic despot feeding on power stolen through abuse of the media is a stark and biting attack on the Trump regime. It is a story exactly of now.

Each person within the movie is forced to face one painful truth – you can’t have whatever you want without paying for it in some way. When as a viewer I discovered that the supervillain behind this is none other than Wonder Woman’s Golden Age nemesis, the Duke of Deception, the extreme topicality of the movie hit home – it comes now, in the real world, after four years of being told that truth is lies, and that journalistic reports sounding the alarm against tyranny are fake news.

Toward the end of the film, as the world descends into anarchy and I looked at it through eyes that have also seen the Capitol insurrection, I found it eerily prescient – to such an extent that I got shivers down my spine.

We all knew what Trump was capable of but never thought he would achieve… but the sheer collapse of law and order that Jenkins captures in this script is near clairvoyant.

– How did she know? – I asked myself, as the credits began to roll. Perhaps more importantly, how did so many who voted for him not know?

The answer: because they were deceived – and that, in the end is what this film is about.