The 1989 British television miniseries Traffik is a six-part drama that delves into the complex global drug trade, focusing on how interconnected the heroin supply chain is, spanning from poppy farms in Pakistan to the distribution networks in Europe and the UK. The story weaves through the lives of three main groups: Pakistani poppy farmers, British government officials, and German drug traffickers and users. Traffik explores how different societal forces—from economic survival to political agendas—contribute to sustaining a cycle of production, [[Trafficking]], and addiction, often fueled by poverty, [[Corruption]], and inequality. As a critique of state power, Traffik highlights the futility and contradictions in [[Government]] policies that attempt to control the drug trade. British officials, for instance, are shown to be largely ineffective in their efforts to stop the flow of heroin into the country, underscoring how even well-intentioned state interventions are ill-equipped to address the deeply rooted social and economic conditions driving the drug trade. The series critiques the governmental response as often superficial and inadequate, portraying the “War on Drugs” not as a decisive campaign against addiction but rather a reactive approach that ignores the broader systemic issues and global inequalities that enable drug production and trafficking. Viewing Traffik through Timothy Morton’s concept of “agrilogistics”—the persistent mindset rooted in agriculture that drives humans to systematize, control, and exploit natural resources—the series can also be interpreted as a critique of how agrilogistical thinking extends into and corrupts the human economy and relationships. The drug trade operates under agrilogistical principles: heroin is derived from poppies, a crop cultivated not for sustenance but for profit in a global market that values productivity over human welfare. This system treats both people and natural resources as expendable commodities, encouraging practices that degrade individuals, communities, and the environment in pursuit of efficiency and control. Morton’s concept resonates with the series’ portrayal of how economic and political systems incentivize people to become cogs in a larger, dehumanizing machine. Poppy farmers in Pakistan, for example, are compelled to grow opium due to economic desperation, perpetuating the agrilogistic cycle that fuels demand and feeds into broader networks of exploitation and suffering. Through its intricate depiction of these interdependent systems, Traffik offers a poignant critique of the global economic forces that manipulate resources and lives, reflecting Morton’s view on how ancient [[hierarchical]] structures and control-based mindsets permeate and harm modern society. `Concepts:` `Knowledge Base:` [[Digital index]]