We are already dead

Rating: 1/10 (9 December 2019)

How did they screw this up? I'm still laughing. They couldn't even capture the narcissism of the piece, you know the bare Shakespeare of it. None of the actors even seem to know what they're saying. These are not interactions but deep fakes, I guarantee it, the Hollywood casts grumble on the painstaking effort of speech, so are now brought in a recording studio, paid their five million to record some two or three cryptic lines, and go their merry way: voila, so an entire performance is brought out. James Earl Jones, I guarantee you that's a deep-fake. His lines point in no direction, certainly not to his son. Did they not have the mp3s from 1994 they could cut and paste? And why get rid of Scar's black mane? He certainly doesn't look like royalty, he's disheveled and homeless in appearance. Then the failure is direction? But Swingers and Chef were quite good. I think instead, Disney is in the hands of scar. Even so much as copying it shot for shot they can't assemble any of it to read. This deepfake is constructed to torture its hostages, offer it the illusion of normalcy, where it's -just- wrong enough to terrify our nightmares. Streamlining taken to its endpoint; Disney's techno singularity is nightmare-efficient, so abandons its product in the process as one giant inefficiency. We are already getting there with subscription models, where the product is an inefficiency, then we rid them of the product. So at its worst, The Lion King is a science fiction nightmare. The entire world population is their audience, I saw some one billion views just for a song from this; this is a fright only Lovecraft could conceive, is revealed an efficiency and streamlining so great a psychopathic molten core in the human heart would reveal--not only this--we race toward making the world in its shape. I want to say Favreau will be punished in some great judgment, but his work itself is the punishment. It feels the entire film is divorced from itself. It feels its crafted by committee--nowthat's a foregone conclusion--no, it feels decentralized; that dreaded word is our future, and how the technocrats believe it saves us by decentralizing power when instead of three large tyrannies we get billions of tyrannies. Decentralization means knowledge would be scattered... 'knowledge' is a danger to the mechanism, 'knowledge' can be abused, or acted on, so by decentralizing the data packets of the machine, you lose responsibility for the outcome. The future is this sort of nightmare where the whole can't be cohered via the pieces. It will all be through packages of abstraction, with everyone kept in the dark but for their packets, and we all just function as a piece of some amalgamation. Then being the simple and authentic audience ends up the greatest crime. Because the entire purpose of art is the whole of the human journey can be reversed through the pieces; you have the arts and the machine by their own designed striving for opposite ends: to decentralize, divide, to keep us in the dark, verse the purposes of the arts: to cohere, to integrate, to actualize. There is hope and what I always say is this is these are the birthing pains of the greater machine. Like the burning liquid metal at the end of T2 gasping in its death, desperately cycling and scanning all its prior iterations for some way out of death... that is Disney today. Possibly this era of the Disney triumph is actually a sign where we are in the very process of its collapse. It's like the theory our lives are actually our memory of our lives.