"Under popular culture's obsession with a naive inclusion, everything is O.K"
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Crouch is skewering a cultural mood that mistakes open doors for good judgment. The jab lands on "naive inclusion": not inclusion as a moral project, but inclusion as an unexamined reflex, a branding posture that treats all tastes, all claims, all performances as equally valid because excluding anything feels impolite, elitist, or politically suspect. In his framing, popular culture becomes less a battleground of standards than a giant participation ribbon. The payoff is the deadpan, infantilized "O.K" - a small, placating phrase that signals surrender. Nothing has to be defended. Nothing has to be earned.
The subtext is classic Crouch: a polemic against the flattening of criticism itself. If everything is "O.K", then nothing is excellent, and the very idea of excellence starts to look like a kind of aggression. He is diagnosing a feedback loop where mass-market logic and moral signaling reinforce each other: platforms want maximum audience, institutions want minimum controversy, and the easiest consensus is that every artifact is "valid". The result is a culture that can talk endlessly about representation while going strangely quiet about rigor.
Context matters because Crouch spent decades insisting that art is not just identity or vibe; it is craft, lineage, discipline, and risk. His target isn't diversity so much as the way consumer culture co-opts it into a solvent that dissolves distinctions. The line reads like a warning: when inclusion becomes an alibi for avoiding evaluation, popular culture doesn't get kinder - it just gets lazier, and criticism turns into customer service.
The subtext is classic Crouch: a polemic against the flattening of criticism itself. If everything is "O.K", then nothing is excellent, and the very idea of excellence starts to look like a kind of aggression. He is diagnosing a feedback loop where mass-market logic and moral signaling reinforce each other: platforms want maximum audience, institutions want minimum controversy, and the easiest consensus is that every artifact is "valid". The result is a culture that can talk endlessly about representation while going strangely quiet about rigor.
Context matters because Crouch spent decades insisting that art is not just identity or vibe; it is craft, lineage, discipline, and risk. His target isn't diversity so much as the way consumer culture co-opts it into a solvent that dissolves distinctions. The line reads like a warning: when inclusion becomes an alibi for avoiding evaluation, popular culture doesn't get kinder - it just gets lazier, and criticism turns into customer service.
Quote Details
| Topic | Equality |
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