In Vierzon, as in many places, cultural expressions are sometimes viewed with suspicion if they are seen as too politically engaged. Theatre and other forms of culture are increasingly expected to conform to certain norms. The question of when libraries will face similar scrutiny remains unanswered. By Fabrice Simoes. In the second-largest city of the Cher department, the mayor of Salbris, Alexandre Avril, is determined to avoid any association with the "extreme right," despite pressure from the regional administration. However, his efforts to distance himself from such labels may not be enough, as the political winds are clear. Avril has consistently aligned with the regional administration's choices, often supporting their positions without hesitation. His recent focus on the cultural life of Vierzon reflects a strategy that aligns with what an extreme right-wing official might propose. At the Estivales du Canal festival, anti-fascist songs were performed, and some artists were invited to criticize the local government. Rock bands such as Trust and Bérurier Noir have been excluded from events, including the garden of the abbey. This exclusion follows previous concerns raised by Jean-Philippe Tanguy during his visit. Unless the mayor of Vierzon, Yannick Le Roux, and his chief of staff understand the metaphor of Rhinoceros—a play by Eugene Ionesco—no performances of the work should be staged at the Vierzon Mac Nab theatre in the next six and a half months. Le Roux and his team may have also banned artists like Bruce Springsteen and Joan Baez, whose concerts often end with raised fists, a gesture seen as too political. The relationship between the far right and culture has long been tense. Culture has often been reshaped to fit political narratives, with values reinterpreted to serve different purposes. A mix of bourgeois intellectualism and populist elements is used to appeal to the public. Local traditions are revived, and events are created, such as the fictional Festival of the Boudin, to create a sense of continuity and identity. In this context, cultural institutions are under pressure. The cinema Avoir 20 ans dans les Aurès has been renamed in Elne under the guise of political neutrality. A play by Alexis Michalik was canceled in Castres because it addressed migration. In Vierzon, the local theatre's programming has also been affected, with the mayor expressing a desire for entertainment rather than political messaging. As physical venues see fewer visitors, social media has become a dominant platform. These digital spaces have taken on the role of public forums, where ideas are exchanged and opinions formed. In such an environment, maintaining control over public thought becomes easier. As with the military, where independent thinking can lead to disobedience, the suppression of critical thinking is seen as essential for maintaining order. In the spirit of Fahrenheit 451, cultural expression must conform to new standards imposed by local authorities.