Finally, the work of creating feelings and relationships interlocks with the task of helping the audience understand their own relationship to Sea World and its corporate parent. In the process of loving and taming, investigating and breeding, Shamu becomes a mediator between the audience, Anheuser-Busch, and the larger corporate world. These multinational economic actors must indeed have our best interests at heart if then, care so much about the killer whale. And here at Sea World, in their own domain, we the audience learn to love them, as we learn to see the mighty beast as the tame prankster who will kiss a little girl. Through Shamu's apparent free will, playful rebellions, and final cooperation we learn that the real nature of being in the world is to cooperare and conform.
Nature is separate from our world but it exists in harmony with private enterprise.
Wildness itself is really obedient. By taking the right to have an authoritative opinion, by extending itself into the schools, and by calling itself a research institution, Sea World has made itself into a private-public actor. Given these claims to responsibility, it's fair to ask what public needs the theme park does fill. More generally, Sea World is a material argument for private business solutions to environmental problems that, though unequal in their origins and effects, are of course not private but collective and social in the most profound sense. And perhaps most important, like all major theme parks Sea World is an advertisement for and a triumphal, material celebration capital of the wonders that the private corporation and multinational capital can produce.