Among the more surprising continuities of 2026 has been the visual kinship between the Winter Olympics and the US’s illegal and unprovoked war in Iran. High-speed camera drones were a highlight of TV coverage of the recent Games in Milano Cortina, bringing viewers within kissing distance of the action as Olympic athletes hurtled down the slopes and around the tracks in the skiing and sliding events. The incessant screech of the drones aside, the introduction of quadcopter-borne cameras felt like a real step forward in coverage of the winter sports, bringing a (literal) new perspective to events that had become, over recent decades, fairly static as a viewing experience.
No sooner had the Olympics finished than aerial video was back on our screens – only the footage, in this case, was of a far darker variety. In place of the ludicrous hip flexibility of the slaloming skiers and the high-speed cornering of the monobobbers, for the past month our feeds have been flooded with satellite and drone imagery of the US military blowing Iranian aircraft, ships, vehicles, munitions buildings, and citizens to smithereens. The aerial perspective that brought the strength and speed and elasticity and joy of Olympic competition to our screens now transmits the daily horrors of war in easily snackable, two-minute clips on to our phones. In the era of the milkshake duck, it’s almost expected that anything positive in our culture will eventually turn sour – and technology, of course, is ethically agnostic, a tool that can be used for both good and evil ends. But even in a culture as depraved and hypocritical as ours, the seamless transition from drone-supplied footage of Olympic excellence to drone-supplied footage of war crimes has felt genuinely jarring.
