“like Slavery, only with extra steps…”

Chocolate-Weapons_1_.jpga full array of Chocolate Weapons that will let you satisfy your sweet tooth, with a tastefully tactical appearance except when you want to get past airport security

 

 

 

By ann summers

Ice cream can taste like so much Death by Chocolate without flies, maggots or mind-controlling spiders. screen_shot_2015-08-31_at_7-11-47_am_1_So as part of my addiction to television as mentioned before, is the Cartoon Network program Rick and Morty (R&M) which presents itself with “each episode as being ‘[its] own point of entry’” it’s possible to read its science as  Richard Wolff (Capitalism Hits the Fan (2012)) and Steven Resnick have written about a similar structure for political economy.

For us, Marxian economics as a systematic theory begins with class – in this sense of a surplus process. Class is Marxism’s entry point, namely the initial, organizing idea from and with which its theory develops. Capital’s thematic focus is this surplus: how it is produced and appropriated (“pumped out of the workers”) in volume 1 and how it circulates and is distributed in volumes 2 and 3. Defining class in terms of surplus production and appropriation and affirming the latter as Marxian economics’entry point strikes us as Marx’s most important and radical contribution to economics. It enables and foregrounds his argument that the source of capitalists’ profits – the surplus value extracted in production – is the exploitation of workers. Class – the process whereby this surplus is produced by workers and appropriated by others (capitalists) – is, for us, the exploitation that is hidden in and by the hegemonic discourses of contemporary capitalist societies. Marxism aims to make such exploitation not only visible but also vulnerable to revolutionary transformation and elimination. Conceiving Marx’s opening thesis – and Capital’s logical structure – in this way gives class both discursive and political priority.

Yet media narratives are commodities, like Trotsky and Benjamin have discussed radio, and like the extra steps of capitalism described by Rick (not Wolff) and Morty as the money exchanged to facilitate the labor power in the production of electrical energy. The Russian nesting doll batteries of R&M are the levels of state capitalisms: nation states, regional states, and local states, reproducing slavery with extra steps yet economic in the last instance.


foaster-a-toaster-shaped-iphone-charger-2116_1_.jpg
Battlestar Gallactica iPhone recharger

 

Program Synopsis:

Rick and Morty is an American adult animated television series created by Justin Roiland and Dan Harmon for Adult Swim. The series follows the misadventures of alcoholic scientist Rick and his easily influenced grandson Morty, who split their time between domestic family life and interdimensional travel. Roiland voices the series’ eponymous characters, while the series also stars the voice talent of Chris ParnellSpencer Grammer, and Sarah Chalke. The series has its origins in an animated parody of Back to the Future created by Roiland for film festival Channel 101

rick-morty-bb

The particular episode #1 of Season 2 of R&M features them reproducing societies in microcosms with the micro-universe inside the space-car’s battery because it’s about “slavery with extra steps”. Every battery can represent a mode of production.

R&M represent the cinematic genres produced as fetishized commodities that reinforce reductive and asymmetric elements of gender division as social divisions of power especially in the episode where Rick’s daughter and son-in-law are sent to an alien marriage therapy weekend retreat. In that way, it is less organically useful in the Gramscian sense. Yet as a political economy of narrative elements, it is useful for explicating anti-capitalist themes. Batteries as commodities themselves, whether the consumable or the rechargeable kind, are the keys to the problems of uneven development for the coming decades as developing countries will be exploited for multiple battery technologies in order to increase the one-percent’s short term profits from the global electrical grid. As I have written before it is about unevenness and scalability.

After breaking the story — which consists of developing its consistency and logical beginning, middle, and conclusion — a writer is assigned to create an outline. Roiland and Harmon do a “pass” on the outline, and from there the episode undergoes several more drafts. The final draft of the script is last approved by either of the co-creators. In producing the series’ first season, episodes were occasionally written out of order. For example, “Rick Potion #9” was the second episode written for the series, but was instructed to be animated as the fifth, as it would make more sense within the series’ continuity. The series is inspired by British-style storytelling, as opposed to traditional American “family TV” stories…

Many episodes are structured with use of a story circle, a Harmon creation based largely on Joseph Campbell‘s monomyth, or The Hero’s Journey. Its two-act structure places it at an odd location in the stages of the monomyth, after The Meeting with the Goddess, instead of Atonement with the Father.

Monomyths are in someways heuristic as hegemonic narratives, and in the case of Campbell and the Jungian archetypes, totalizing and ultimately patriarchal and commodifiable in terms of cinematic genres.

Crowds assemble at the London premiere of Mockingjay - Part 1 to protest the military regime that has assumed control in Thailand Credit: DistrictThai
Crowds assemble at the London premiere of Hunger Games Mockingjay – Part 1 to protest the military regime that has assumed control in Thailand www.telegraph.co.uk/…
https://youtu.be/hKjWB6Dj2A8

 

Plot Summary R&M Season 2, Episode 1 “The Ricks Must Be Crazy”  ……            While out exploring the multi-verse with Morty and Summer, Rick’s car won’t start, so he and Morty attempt to fix it by journeying into the battery. Rick leaves Summer alone in the car waiting for their return, instructing the car to “Keep Summer safe.” Inside the battery, Morty learns that it contains a miniature universe — a “micro-verse” — created by Rick, and inhabited by intelligent life, which Rick has provided with manual electricity generators. They happily direct the excess into a volcano, which powers Rick’s car. Rick dismisses Morty’s protest that enslaving a world is wrong. They learn that the power has been interrupted because the micro-verse world’s smartest scientist, Zeep Xanflorp, has created a technology that makes the manual electricity generators obsolete: a battery exactly like Rick’s, containing a “mini-verse.” Zeep escorts Rick and Morty into the battery. Rick protests that enslaving a world is wrong, just as Morty did, and Zeep dismisses him, just as Rick did. Inside the mini-verse, they find a scientist who is working on his own miniature battery universe. When he realizes his efforts to create a “tiny-verse” are meaningless, he commits suicide, destroying Zeep’s transporter and stranding Rick, Morty, and Zeep inside the “tiny-verse” battery in Zeep’s battery. In the main universe, a man approaches the car. Summer panics, and the car kills the man, gruesomely slicing him into many small pieces with a laser. Summer forbids the car from killing, so it paralyzes the next person to approach. When the police arrive and Summer forbids violence, the car manifests a duplicate of the dead son of one of the police officers, causing it to melt as he hugs it. Horrified, he and the police back up into a stand-off with the car. Summer forbids the car from psychologically damaging anyone, which the car complains is making its job of keeping her safe very difficult.

Rick and Zeep sabotage each others’ attempts to escape the battery, while Morty, sick of their childish fighting, chooses to live with the native tree people. Morty, now leader of the tree people, forces Rick and Zeep to cooperate to get them out of the “mini-verse.” Rick destroys Zeep’s battery (killing countless inhabitants of the mini-verse) and races Zeep out of Rick’s battery, at one point telling Morty that he injected him with nanobots that allow him to turn into a car, only to find a taxi before Morty gets the chance to transform. Rick and Morty escape the battery, trapping Zeep in it.Back in the main universe, the car has negotiated a peace treaty between that multi-verse’s human and telepathic spider populations as the only way to keep Summer safe. Rick confidently starts the car, blithely pointing out that Zeep knows that if the battery ever stops working, Rick will just destroy it and create another. The inhabitants of the micro-verse are now grimly aware of their enslavement, but will never rebel. Rick, Summer, and Morty, now able to drive to get ice cream, realize that Summer’s peace negotiation has ruined it, with the inclusion of flies, for the telepathic spiders.www.adultswim.com/…
Rick and Morty.S02E06 “The Ricks Must Be Crazy”

deathbychocolate_1_.jpg
death with more steps and political power grows out of the barrel of a chocolate Glock

 

This entry was posted in Animation, Art, Astronomy/Astrophysics, Capitalism, Communism, Cosmology, Economic Policy, Energy Policy, Humor, information Technology, Internet, Media, Nanotechnology, Philosophy, Physics, Political Science, Politics, Progressives, Quantum Mechanics, Science, Socialism, Sociology, Technology, Television, Uncategorized and tagged , , . Bookmark the permalink.

1 Response to “like Slavery, only with extra steps…”

  1. Can you imagine the freakout in full battle cry if you had any of that chocolate stuff in your carry on luggage? Or even worse, a kid with it in his school lunch?

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