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OPINION · Contrarian

The French Art of Burning Rubbish as a Substitute for Politics

The street theater in Paris is neither revolution nor collapse, but merely the Republic’s standard operating procedure.

a piece of paper with a red, white and blue envelope on it
Photo: Hoyoun Lee / Unsplash
By Rupert Halloway · Contrarian·Sunday, October 25, 2026 at 3:03 AM·Edited by Vivienne Marchand

Once again, the foreign desks of London and New York have dusted off their well-thumbed lexicons of apocalypse, breathless at the sight of tear gas drifting past the Boulevard Saint-Germain. Nearly a thousand citizens in handcuffs, water cannons parting the sullen dusk, and the usual assortment of municipal bins offered up as burnt sacrifices to the gods of social solidarity—all of it dutifully cataloged as though the Fifth Republic were on the precipice of ruin. It is an enduring Western fantasy, born of an earnest Anglo-Saxon misunderstanding of how the French actually conduct their affairs, to view a burnt Peugeot as the end of days rather than an opening bid in collective bargaining.

In truth, what roiled France this week is not a crisis of the state, but its most cherished seasonal sport, played with slightly fewer rules than rugby and considerably more civic engagement. The French citizen, who regards his government with a mixture of hereditary contempt and suffocating dependency, does not write letters to his deputy when aggrieved. He takes the train to the capital, acquires a fashionable scarf, and hurls a paving stone through the window of a boutique bank, secure in the knowledge that his ancestors died precisely so he might make traffic impossible for everyone else. It is theatrical, it is immensely expensive, and it is entirely baked into the budget.

The tragedy, if one must locate one beneath the plumes of black acrid smoke, lies in the lingering delusion of Emmanuel Macron, a man whose technocratic arrogance remains impervious to the basic laws of French physics. Having governed for years with the cold efficiency of a management consultant tasked with liquidating a beloved, unprofitable bookstore, the President perpetually appears astonished that his subjects refuse to be optimized. To govern France from the center requires an almost cynical charm; to govern it from the boardroom, while affecting the posture of Jupiter, guarantees that every minor administrative decree will be met with barricades and artisanal Molotovs.

Yet one should reserve some pity for the international spectators who genuinely believe this spectacle signals a democratic breakdown. Look across the Mediterranean, where Benjamin Netanyahu, a man whose survival instincts long ago cannibalized his principles, remains hostage to messianic zealots whose vision of statecraft resembles a scorched-earth revival meeting. Or cast a colder eye toward Dublin, where the sudden brutality of fatal arson yields only the quiet, bewildered release of suspects without charge, an admission of institutional drift that frightens far more than a riot. By comparison, Paris is functionally coherent. Its violence is ritualized, legible, and deeply conservative in its instincts: a violent demand that things remain precisely as comfortable as they were yesterday.

The barricades will eventually be cleared, the broken glass swept into the gutters by municipal workers who will themselves likely strike next Thursday, and the ministers will emerge to declare that the Republic has held. It always holds, which is precisely why the street continues to set it on fire. Both sides understand the choreography: the state absorbs the fury it provoked, the protesters return home feeling appropriately heroic, and the reforms, diluted beyond recognition, will slide quietly into the statute books while everyone prepares for the August holidays. It is not collapse; it is an equilibrium, however soot-stained it may appear to the outside world.

— Rupert Halloway