I revisited Glasgow recently - where I had lived for several years, three decades ago; and Oh the difference!
I knew Glasgow best from the 1980s-90s; when it was in the throes of an era of cultural construction and celebration - you could hardly switch on the TV or radio, or open a highbrow magazine, without something about Glasgow's architecture, film, art, literature and whatever; a place of galleries, museums, plays and exhibitions. A great deal of money and effort was spent on funding (and publicizing!) all this.
Certainly, one could reasonably claim that all this 'Glasgow's Miles Better'/ 'City of Culture' stuff was greatly exaggerated, but there was no doubt that the city was trying its best.
The Art Nouveau design and architecture of Charles Rennie Mackintosh was a symbol of this - and the craze went international. Among the buildings were the Art School - (burned down), Hill House (closed), a recreated house at the Hunterian Gallery (closed), Scotland Street School (closed)... The once famous Burrell Collection (one of Scotland's major visitor attractions) has been closed for five years.
You get the idea.
I walked the streets in the West End, in and around the university where I worked for more than three years; famous as the hub of artistic and cultural life in the city, and they were all-but deserted. A place that crackled with creative energy has been smothered.
I use Glasgow merely as typical - a microcosm of the way that (since the totalitarian takeover of early 2020) the cultural life of Britain (and, I presume, everywhere else) has undergone an almost complete destruction by asphyxiation.
Operas, concerts, plays, museums, galleries, stately homes etc are either closed - or else undergone a massive collapse in quality. They have imposed punitive restrictions - e.g. requiring days of pre-booking, allowing tiny numbers, with miserably intrusive conditions (eg. plastered with aggressive notices, insistent masking, one way systems even outdoors).
And these going far beyond those implemented for large retail institutions like supermarkets.
Even such dubiously cultured places as research facilities, laboratories and universities in general are often grossly-depleted or moribund (at least from those I have walked around).
Much the same applies to sports - who have made themselves absent altogether, or (at best) much less enjoyable by their zealous embrace of (zero resistance to) a deadly combination of 'distancing' practices and antiracist evil-propaganda.
(I can only tolerate cricket by turning the sound off - to avoid the woke pieties of commentators; and by missing the Nuremberg Rally celebrations of 'diversity' that start each game.)
There is an enhanced zeal in the 'cancel culture'; which is deployed differentially anti-culturally, against things that have a stronger tendency to any-thing notably Good (high in Truth, Beauty and/or Virtue).
It is now a dead-certainty that all cultural work of high quality and value is targeted, with its authors and makers.
Any person or opus that is exceptionally Good will sooner or later be attacked; and it is certain that those bureaucrats, managers and practitioners charged with the preservation, defense and promotion of culture; will take this, and every other possible, opportunity to destroy, replace or deface it.
It seems clear that 'culture' has suspended activity; but apparently with full complicity from the cultural professionals (artists, actors, and so forth) - who seem to be solidly behind the birdemic response (and asking for more); they are apparently content to live off doles and do nothing but symbolic internet interactions; and continue without any definite end point.
Active cultural destruction on all sides - blatant and proud - is merely one among many symptoms of a civilization in the terminal phases of self-loathing and strategic suicide - led by the demonic elites and colluded-with by the Godless masses.