If Britain’s media culture can be thought of, in abstract, as Victor Frankenstein, Katie Hopkins thinks of herself as its monster. She is proud of the phrase but likely not of some of its implications. Hopkins wanted absolution from blame, painting herself almost as a Newtonian reaction. This is unsustainable. But she is a little like Shelley’s monster in another, different way. Cobbled together from other people’s opinions as much as the character was made of other people, Hopkins’ media profile is nonetheless unique – its animating influence the worst aspects of her character. Continue reading

The Hopkins Trajectory
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