Stuart Jeffries at The Guardian:
The new surveillance society that has arisen since 1984, argues Han, works differently yet is more elegantly totalitarian and oppressive than anything described by Orwell or Jeremy Bentham. “Confession obtained by force has been replaced by voluntary disclosure,” he writes. “Smartphones have been substituted for torture chambers.” Well, not quite. Torture chambers still exist, it’s just that we in the neoliberal west have outsourced them (thanks, rendition flights) so that that obscenity called polite society can pretend they don’t exist.
Nonetheless, what capitalism realised in the neoliberal era, Han argues, is that it didn’t need to be tough, but seductive. This is what he calls smartpolitics. Instead of saying no, it says yes: instead of denying us with commandments, discipline and shortages, it seems to allow us to buy what we want when we want, become what we want and realise our dream of freedom. “Instead of forbidding and depriving it works through pleasing and fulfilling. Instead of making people compliant, it seeks to make them dependent.”
Your smartphone, for Han, is crucial in this respect, the multifunctional tool of our auto-exploitation. We are all Big Brother now.
more here.

Yet it was Hulu’s television adaptation of Margaret Atwood’s The Handmaid’s Tale that jangled the nerves most vividly and to such startling effect. Set in the near future, it imagined Gilead: an authoritarian mutation of the United States, in which the constitutional apparatus has been forcibly dismantled and replaced by the patriarchal rule of “Sons of Jacob”, stripping women of all rights and enslaving those who remained fertile as handmaids, serially raped in a pseudo-biblical “ceremony” to provide the childless governing caste with progeny.
The Handmaid’s Tale was ostensibly televisual fiction. Yet in its uncompromising exploration of fear and power and its abuse, it also captured the lightning of the moment in a bottle of dystopian genius. It was nothing short of mesmeric, all the more so on repeated viewings. When the series was ordered in April 2016, Trump was the frontrunner to win the Republican nomination but not quite the presumptive candidate. It was still orthodox to assert that Hillary Clinton would trounce him in the election itself. His unapologetic misogyny had been perfectly clear at the first Republican contenders’ debate in August 2015, in which he sparred with the moderator, Megyn Kelly, and insulted Rosie O’Donnell. But the notorious Access Hollywood tape – “grab them by the pussy” – did not become public until October 2016, by which stage The Handmaid’s Tale was already in production. Yet, through luck, intuition or a combination of the two, the series became a disturbing text for our times. Produced by Atwood, author of the original novel, and Elisabeth Moss, who played the lead character, June/Offred, it did more than a thousand news bulletins to capture all that was most toxic about the new populist right and the shredding of constitutional norms.
More here.