Epstein and the politics of distraction

Scandal individualises corruption, creating a spectacle that redirects anger away from structural power.Printed copies of the Jeffrey Epstein files in Miami, Florida, February 10, 2026 [Cristobal Herrera-Ulashkevich/EPA]Yoav Litvin is an Israeli-American doctor of psychology/neuroscience, a writer and photographer.Published On 26 Feb 2026After the beginning of Trump’s second term, the connections between capitalism, white supremacy and imperial domination became increasingly clear. These have been highlighted through ICE raids as modern-day slave patrols, global criminal operations such as the kidnapping of Venezuelan President Nicolas Maduro and his wife Cilia Flores, and United States assistance to Israel’s genocide in Gaza as a bipartisan US and transnational corporate experiment.The growing understanding that people in the Global South, along with Black, Indigenous and other People of Colour (BIPOC) within the imperial core, face a common enemy has galvanised an anti-colonial, revolutionary movement committed to radical transformation.And then the release of the Epstein files flooded public discourse.Jeffrey Epstein was a financier convicted of sex crimes involving minors. After renewed federal charges in 2019, he died in jail (officially ruled a suicide). The case triggered public outrage about ruling class impunity, media focus on unsavoury associations between the political and corporate class and a plethora of conspiratorial narratives about cover-ups.The Epstein case became far more than a criminal proceeding; it reflects a symbolic exposure of ruling class impunity and concentrated power and a spectacle of corruption within an empire in deep crisis and decline.The Epstein case exposed ruling class criminality while simultaneously displacing structural accountability.Importantly, “spectacle” does not mean “fake”; it means the organisation of politics through symbolic drama that displaces structural political analysis. With spectacle, social contradictions (inequality, social crises and instability) are dramatised rather than structurally challenged.The enduring media and public fixation on the Epstein files, particularly as their release proceeds with little accountability and continued narratives that discredit and isolate survivors, serves less as accountability and more as a political diversion from systemic injustices: Racism, capitalism, the growth of the police state and ongoing international impunity.More troubling still, it marks another step in the erosion of democracy and the consolidation of expansionist, war-driven fascism.Fascist spectacleIn work by Walter Benjamin, Hannah Arendt, Guy Debord, Umberto Eco and others, fascist spectacle involves anti-intellectual and emotionally driven mass mobilisation around simple moral binaries (pure people v the corrupt ruling class), where action is revered while thought is reviled; the replacement of institutional process with symbolic imagery and drama; and mythic narratives of national decay and rebirth. Political theorist Roger Griffin calls this rebirth “palingenic ultranationalism”, that is, destruction as a precondition for rebirth.The function of spectacle is to subvert principled analysis and resistance to oppression with emotion – outrage, disgust, despair and helplessness.Conspiracy theories are the narrative engine of spectacle. They transform systemic crisis and social instability into simple, emotionally gripping stories of social taboo-breaking, centred on hidden and untouchable enemies, laying the groundwork through which authoritarian solutions are marketed as necessary and even redemptive.When structural violence becomes visible, but accountability remains absent, public anger often seeks explanation through personalised and conspiratorial narratives rather than systemic analysis.Amid growing distrust and corruption in mainstream media and the rise of citizen-driven and alternative social media ecosystems, conspiracy theories surrounding the Epstein case have blossomed: Claims of secret global cabals engaged in immoral sexual criminality, ritualistic fantasies involving human sacrifice, cannibalism and ancient symbolic structures and explicitly racist and anti-Semitic tropes about hidden rulers, among others.Theories like these, whether wholly true, partially true or false, are not new; fascist movements have historically mobilised around the idea that the nation is being secretly corrupted by a degenerate ruling class, with a radical cleansing necessary to return to a righteous path.These narratives do not expose a corrupt system; they obscure and mystify it. By sensationalising corruption into myth and providing explicit, though untouchable, targets for public outrage, they displace rigorous anti-colonial and material analyses of structural exploitation, greed and state violence with collective authoritarian longing for a strongman and the suppression of dissent to restore order.The grand spectacle: WarWhen politics becomes theatre rather than collective progress dependent on accountability, transformation or reform, crisis becomes emotional drama, drama demands release (internal resolution) or escalation and escalation inevitably finds its expression in externalised war, in which the nation performs a grand spectacle of unity and sacrifice on the largest possible stage.War acts as a stabilising force when internal contradictions cannot be resolved through collective mobilisation. With its uniforms and marches, war channels discontent by uniting a fragmented, outraged population against an externalised enemy, transforming righteous anger at the violence, oppression and greed of a ruling class into manufactured unity, heroism and meaning through violence against “the other”.These dynamics, outlined by Benjamin decades ago, feel alarmingly familiar in the present moment, including in the spectacle surrounding the Epstein scandal.In this context, external conflict functions not only as policy but as emotional consolidation, redirecting internal disillusionment towards collective national purpose.Fascist forces deploy such spectacles to distract and mobilise, and are doing so presently; accelerating the dismantling of what remains of US democracy and the post-war international order, to be replaced by a system ruled by force and naked self-interest.Spectacle politics does not require loyalty to specific leaders but to the emotional narrative they embody, rendering individual figures ultimately expendable.In this logic, even Trump could be discarded, sacrificed to clear the way for a “purer” white male strongman (Vance? Pence? Carlson?) who promises to cleanse the ruling class and by extension its foreign so-called “handlers” (enemies like Russia, China and Iran or even allies like Israel and Europe, the latter already being threatened by Trump), of its unsavoury elements, particularly if Trump’s baggage with Epstein proves politically irredeemable.By contrast, liberation and reconciliation and an end to capitalist oppression, with its accompanying genocidal violence and planetary destruction, require a steadfast structural framework aligned with broader leftist, antiracist and anti-colonial principles. Such a framework prioritises systemic transformation over spectacle. Within this view, the Epstein scandal is not treated as the disease itself, but as a symptom of capitalism’s inherent corruption.The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.