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Simon Malpas
and
Andrew Taylor
narcotics’ (VL 51). Towards the end of the novel, Frenesi reflects with dismay upon the degree to which Hector’s televisual idea of law enforcement has brought about very real perversions of the US legal system. Zuniga ‘depended upon these Tubal fantasies about his profession, relentlessly pushing their propaganda message of copsare-only-human-got-to-do-their-job turning agents of government repression into sympathetic heroes’. The comforting aestheticisation of a fascist system, through its incarnation as television spectacle, not only elides serious discussion of law