The answer is of course Game of ThronesHerd Impunity & the Crony Virus
Ok so the HYPOCRISY - I don't buy that the left can't get away with corruption because they are held to higher moral standards due to their ideological positioning - that just doesn't make sense, as if the charge of hypocrisy is worse than warmongering and embezzlement, and that we'd be content that the right are gerrymandering, filibustering, carpet bagging to their hearts' content anyway, because "that's just how they are". no.
so where does this new impunity come from? only a few years ago the expenses enquiry was on - resignation or police offenses back then seem trivial compared to the sharp practice in politics and business currently happening without fuss. mps used to quit for affairs or lying, what changed?
is it that the stakes are too high now we have these blonde gits in crucial positions of power, to kick them out would be too destructive so we have to pipe down? Did something changed in our expectations of how they should behave, in just like the past 3-5 years?
is this moral relegation, this turpitude and corruption and ethical low standards a new permanent state of affairs? How far is it a double standard that other (non WASP, non Male) wouldn't benefit from or is it universal now? Is it just an anglosphere phenomenon? its been quite sudden, like WTF?
For the last four or five years the island's tourist hotel has been owned by a married couple of crofter origins. From the beginning, the owners were forced to set aside their own conceptions as to how life ought to be led, displaying in the hotel a full round of middle-class services and amenities. Lately, however, it appears that the managers have become less cynical about the performance that they stage; they themselves are becoming middle class and more and more enamoured of the selves their clients impute to them.
Professions which the public holds in religious awe often allow their recruits to follow the cycle in this direction, and often recruits follow it in this direction not because of a slow realization that they are deluding their audience—for by ordinary social standards the claims they make may be quite valid—but because they can use this cynicism as a means of insulating their inner selves from contact with the audience. And we may even expect to find typical careers of faith, with the individual starting out with one kind of involvement in the performance he is required to give, then moving back and forth several times between sincerity and cynicism before completing all the phases and turning-points of self-belief for a person of his station.
For many seasons, Balenciaga’s Instagram was a roll of photos solicited from alternative influencers, from pale, sickly artists and dour, misshapen scene kids, eager to make themselves into advertisements for around $500 a post; but on July 1st this year, the brand deleted everything, unmade itself, and turned to a blank page. By late July, Kanye West, under Gvasalia’s creative direction, was wandering the stands of Atlanta’s football stadium in a series of masks. And last month, September, Gvasalia accompanied the rapper’s estranged wife, Kim, to the Met Ball in matching all-black outfits and body stockings that obscured their faces completely. Demna and Kim, this century’s most influential and effective forces of branding and self-branding respectively, are now involved in the destruction of identity. Kim and Kanye are divorcing one another, but also themselves. And Demna’s black-hooded, faceless penitent getup from the masked ball also closed Balenciaga’s Spring ’22 show, and was the first picture posted on its wiped-clean Instagram.
The ghosts of londons past.
the remnants of the once mighty gas gang.
melting rave pianos.
alan kurdi's lifeless body against mediteranian waves gently lapping.
london's knife intifada. it's isis.
a music that champions anonymity above all else in a city whose identity is slowly being strangled by its own financial success.
but through it all it offers sardonic joy. bounciness. playfulness.
it's all a game.
the death of the individual identity:
1) drill's masks, artist's dystopian code-like names (v9, c1, gt), the fact that these names are indistinguishable from gang names like m20 in drill youtube titles, individuals being numerical in drill lyrics ("they say 150, but 146 instead", "i'm 300 and more"), "no face"
2) all the masked antagonists in the purge
3) online internet anonymity
4) the hactivist group anonymous (and their guy fawkes masks)
identity politics ironically works in this way; the individual becoming a proxy for a broader culture (whether it be ethnicity, sexuality, etc.)