The joyless excess: why modern decadence has lost its pleasure
A Guardian analysis argues that contemporary society mirrors the excesses of the 19th-century decadent movement but lacks its sensory commitment, replacing enjoyment with self-optimisation and algorithmic stimulation.
In an opinion piece published on 26 July 2026, Michèle Mendelssohn and Charlie Tyson argue that contemporary culture has entered an era of "decadence without pleasure". The authors contend that while modern society exhibits the excesses of late-19th-century decadence, it lacks the commitment to sensory enjoyment, instead prioritising self-optimisation, algorithmic stimulation, and biohacking.
The article contrasts the historical decadent movement's celebration of "useless" pleasure with current trends such as the use of GLP-1 drugs, "looksmaxxing", and artificial intelligence. These developments are described as creating a joyless, technologically mediated existence dominated by elite interests, where pleasure is subordinated to programs of optimisation.
The authors cite Bryan Johnson’s "Don’t Die" movement and his $2m annual regimen of ascetic self-management as a prime example of modern biohacking. This approach treats sensory delights as suspect, contrasting sharply with the fin-de-siècle decadents who championed extravagance and sensuousness. Similarly, Dr Sally Greenwald’s practice, dubbed the "Billionaire’s Vagina Club", utilises hormonal cocktails to improve "sexspan" for elite clients, reflecting a narrow obsession with human enhancement.
Data points underscore the scale of this shift. A 2025 Gallup poll indicates that one in eight American adults report taking GLP-1 injectables for weight loss, with the global market for these drugs expected to reach $190bn by 2035. The piece also references JD Vance’s 2026 memoir, Communion, in which he warns that the US is tumbling into disrepair, linking cultural stagnation to political anxiety.
Entertainment such as the film Saltburn and the TV show The White Lotus are highlighted as reproducing the structure of pleasureless decadence by equating pleasure with status. The authors suggest that a "New Decadence" could emerge to revolt against this optimisation, encouraging ordinary people to reclaim embodied pleasure from the siren simulations of the digital world.