In the cases of gangster rap and Ellroy, capitalist realism takes the form of a kind of super-identification with capital at its most pitilessly predatory, but this need not be the case. In fact, capitalist realism is very far from precluding a certain anticapitalism. After all, and as Zizek has provocatively pointed out, anti-capitalism is widely disseminated in capitalism. Time after time, the villain in Hollywood films will turn out to be the 'evil corporation'. Far from undermining capitalist realism, this gestural anti-capitalism actually reinforces it. Take Disney/ Pixar's Wall-E (2008). The film shows an earth so despoiled that human beings are no longer capable of inhabiting it. We're left in no doubt that consumer capitalism and corporations -or rather one mega-corporation, Buy n Large -is responsible for this depredation; and when we see eventually see the human beings in offworld exile, they are infantile and obese, interacting via screen interfaces, carried around in large motorized chairs, and supping indeterminate slop from cups. What we have here is a vision of control and communication much as Jean Baudrillard understood it, in which subjugation no longer takes the form of a subordination to an extrinsic spectacle, but rather invites us to interact and participate. It seems that the cinema audience is itself the object of this satire, which prompted some right wing observers to recoil in disgust, condemning Disney/Pixar for attacking its own audience. But this kind of irony feeds rather than challenges capitalist realism. A film like Wall-E exemplifies what Robert Pfaller has called 'interpassivity': the film performs our anti-capitalism for us, allowing us to continue to consume with impunity.