Abstract

In a recent exchange on the subject of Columbo, Agnes Heller and Moishe Gonzales pitched their tents within the landscape of popular culture which was already littered with the remnants of various academic approaches to the culture industry. Neither, however, went far enough in defetishizing this icon of popular culture and, as a consequence, do not penetrate its sinister qualities. Heller in particular attempts to write a contemporary theory of history based on Columbo, but her hope of raising a counterfeit product of the culture industry to Utopian heights is doomed to failure. The secret of Columbo lies in the fact that he has been plagiarized from an older, more authentic cultural critique