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Folman really wears his influences on his sleeve on this film. He has acknowledged the Lem influence for the second part of his plot, the loosely satirical set-up of a congress being held up, terrorist attacks occurring and a main character that floats between various drug-induced states of delusion and reality. This accounts for the initially rather strange but actually poignant merging of the pharmaceutical and entertainment industries. From the moment Robin enters the congress hall, the film is filled with little jokes and references hidden at the sides of the frame and at the back of the compositions. These kind of Tati-esque, overwhelmingly full compositions really encourage scanning the frame to catch as much of this play as possible. Unfortunately this heightened intertextuality also invites the viewer to make connections that might not be there or are a lot less interesting. For example, the strange decision to have two people constantly beating on drums during the big speech of the congress is a bit reminiscent of that awful rave scene in The Matrix Reloaded. Another acknowledged influence comes from 1930s Fleischer studios cartoons, the studio that gave us classic characters like Popeye and Betty Boop. This influence shows in the design of many of the characters when we first enter the congress in the animated zone, but everything about the big animated sequences with plenty of characters running through the frame suggests that they were drawn from many different styles, a plurality that reflects the idea of the subjectivity of experience and vision that mediates what goes on in the animated zone. The look of the world when she first enters the animation is very inspired by the 1960s Beatles animated feature The Yellow Submarine (1968). Then the architecture of the congress buildings starts to feel more like Japanese anime. This brings me to Satoshi Kon. In the 2000s he was one of the big directors working in feature film anime until his premature death in 2010. Satoshi was also preoccupied with delusional mental states and psychedelic animation. In relation to The Congress, I think especially his film Paprika (2006) should be mentioned. It is his only real science-fiction film and also features a female protagonist who navigates various dream and delusional states with similar moments of overwhelming aesthetic overload. It features a parade that runs through the whole film during which people turn into inanimate characters, from frogs playing instruments, to Buddha statues, to small Godzilla monsters, to creepy dolls, etc. This is very similar to what happens when people take the identity-changing drugs in The Congress and we see them change into various film and music stars, religious icons, political leaders, etc. This is one of the reasons why animation can be so great. Imagination is the only limitation.

In a film that is particular with details, I wish a little more attention had been paid to getting the "unnamed Asian city" right; the screenplay states that Lydia ends up in the Philippines (her hotel is in Makati, and the orchestra is referred to as the MPO), and several clues make that clear: the portraits of Emilio Aguinaldo and Jos Rizal in the room where Lydia is welcomed, the conversations in Filipino among the orchestra staff/administrators, the jeepney, and the Sarah Geronimo song playing as Lydia studies her score outside a restaurant.

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It was in part because of the success of the Gasda meeting that I considered the offer to be in the next Peter Vack movie. Apparently the Ion Pack guys had Betsey on their podcast and they defended my review somehow, maybe simply because they felt bad for inviting me in the first place and causing trouble and they needed to justify it, or maybe because they really did see the artistry of the piece. And if Betsey and Peter were coming around to it, then great. I ran into Curtis a couple times out and about in Manhattan during this period, the time when Dagsen was in town, and he told me they were serious about the offer to be in the movie they were producing, that they weren\u2019t fucking with me or anything. I knew that I would be playing myself, and that I would be some kind of antagonist. But I\u2019m no stranger to that, and I was curious to see how they imagined my character fitting into their creative vision. Still, I was wary of the offer. Actors was straight up vile, and I would never have agreed to be part of that film had they asked me. My biggest concern was that I would be assimilated into their new film in such a way that would make me too close of a friend, neutralizing my criticism entirely by presenting it as a joke that they were in on all along. Most of my friends seemed to encourage me accepting the offer (What do I have to lose? It would let me go deeper into this world, enhance my credibility as its chronicler\u2026), but the skeptical ones worried that it would come across too chummy, that Peter and the rest of them would lovebomb me into being co-opted. I tried to avoid giving a definitive answer until I got more details of my role.

As the late July date of filming came closer, I finally got some details. On July 22 I got the prompt from Curtis: \u201Cexplain what you mean when you call things, particularly art, fascist in 60 seconds or less\u2014in a way that would make sense to a person who doesn\u2019t have an MFA.\u201D Fair enough, they could cut it up however unflatteringly they like, but I\u2019d still be talking in my own words in a way that would inevitably maintain my real antagonistic position. Sure, there was a trick in it\u2014no doubt anything I would say would be perceived as \u201Ctoo intellectual\u201D or whatever, but that\u2019s not my problem. And then there were the advertisements on Instagram. \u201CTHE ION PACK PRESENTS PETER VACK\u2019S CINEMATIC UNIVERSIONIZED: A TWO-DAY FILMED PARTY.\u201D And in the top right corner: \u201CSTARRING THE ION PACK, BETSEY BROWN, CHLOE CHERRY, DASHA NEKRASOVA, YOU.\u201D So, it was going to be a big party somewhere and they were going to invite all their fans, I\u2019d show up and they\u2019d probably film me for a couple minutes talking about downtown scene fascism, and the rest of the time I\u2019d just float around observing the filmmaking process from the inside. In editing they\u2019d probably splice my part in between a bunch of rubes with really wack opinions, but who cares, the movie will probably be pretty bad anyway, and it\u2019s access to an event that could be valuable for my writing. Curtis was insistent they needed me for the movie, addressing me with the endearing \u201Cking\u201D term of affection. On the Tuesday the week of filming I finally agreed, and Curtis gave me my call time later that evening\u20143PM, Friday, July 29, Daryl Roth Theatre, Union Square, Manhattan.

I showed up a half hour before my call time and saw a long line snaking around the front of the Daryl Roth Theatre. These were the people responding to the Instagram call for extras. I passed by a \u201CBlack Lives Matter\u201D mural in my walk to the front of the line, where I met Curtis. He brought me inside, where I signed a talent consent form that gave the filmmakers the rights to use my likeness in their film, just as I had used their likeness in my writing. He then brought me downstairs to the theater\u2019s basement, where he showed me Dasha Nekrasova in her makeup room in the midst of a transformation into an anime girl. Then he told me what exactly they were supposed to be filming: the crowd of extras was to populate the house of the Daryl Roth Theatre and become an improvised IRL YouTube comments section/4chan message board. The special guests they had invited, which included myself, were to be dispersed through the crowd and contribute to the discussion as \u201CElite Trolls.\u201D Curtis said he didn\u2019t know how exactly I was supposed to fit in to the discussion\u2014that was all in Peter\u2019s head apparently\u2014but whatever I had to say about fascism in art was going to be part of some collage of internet chatter manifested in real life. I met Nick Rochefort of Million Dollar Extreme, who told us about how his collaborators Sam Hyde and Charles Carroll were having another feud at the moment, but that they would inevitably reconcile as always. Nick was supposed to be one of the \u201CElite Trolls,\u201D as were the artist Alex Bienstock, Wobble Palace filmmaker Eugene Kotlyarenko, actress Ivy Wolk, neoreactionary blogger Curtis Yarvin, Cum Town podcaster Nick Mullen, writer and Wet Brain podcaster Honor Levy, and Ion Pack podcasters Curtis and KJ themselves. Washington Post journalist Taylor Lorenz had been invited and was included as an Elite Troll in the call sheet for the day, but she had a scheduling conflict and would not be there. Curtis told me that this would be the last time the Ion Pack would don the black masks that signified their former anonymity, and how it was ironic that once the movie comes out it will have been two years since they last wore them. Soon after, the production team brought the Elite Trolls up to the theater house, where they were seated, dispersed through the crowd of regular troll background extras, who were either committed fans of the \u201CPeter Vack Cinematic Universe\u201D that found out about this through Instagram, or completely random people who were looking for work as film extras on the website Backstage. When I was waiting to be seated, Peter approached me and asked if I was ready, if I had prepared some response to the prompt. I said I was and asked if he\u2019d rather I respond in a sincere way, which would try to be more clear and reasoned, or a trolling way, which would be easier to present in \u201Cdumbed-down\u201D language but answer the prompt more obliquely. He said he\u2019d prefer I be more sincere, that I just be myself. He also said that they\u2019d be starting off with me. Weird, but whatever.

Peter had me seated right in the center of the audience, right between two people who had no idea about any of these people or what was going on. The audience was facing a stage that was full of lights, cameras, and other pieces of large film equipment. Right in the center of the stage was Peter, the great director. Betsey and their parents, who are producers of the film, were also on the stage several feet behind him, keenly observing the whole scene. Then the cameras started rolling, and Peter addressed me directly. \u201CCrumps,\u201D he said, \u201Ctell us, what is fascism?\u201D I had prepared a statement that I had mentally rehearsed, but I was still slightly caught off guard by just how contextless it was set up to be. I started talking about what the \u201Cfascist avant-garde\u201D means in my writing. I talked about how it promises some exhilarating mayhem that ostensibly transgresses the ideas of the ruling order but ultimately takes the side of hierarchy and authority, about how it therefore cannot ever be truly transformative and dialectical, about how it feigns self-awareness but such a self-awareness is necessarily impossible because it would mean social consciousness, about how it may seem to \u201Chave its finger on the pulse\u201D of the current moment but only ever in an opportunistic way, about how it tries to make a \u201Cuniversal art that isn\u2019t single-mindedly focused on identity politics\u201D but ends up being just a very generic and provincial representation of NYC bourgeois class consciousness, and about how it often just comes down to delusional mediocrities with their neurotic attachments to saying slurs and whining about cancel culture. I didn\u2019t hit every single one of these points right from the start, but this was the general idea of what I said and what I elaborated once people started questioning what I meant. Once I finished talking, Curtis Yarvin spoke from a few rows ahead of me. He made some predictable point about how fascist art is actually quite good, citing Arno Breker and Gabriele D\u2019Annunzio and people like that. And then the conversation dropped about two standard deviations of IQ as the cameras and boom mics shifted throughout all the nobody background extras who were there to stand in for the intellectual peasantry of anonymous message boards. These people were encouraged to say whatever random edgelord vulgarities popped into their heads, which meant a lot of slurs, proclamations about how circumcision is worse than abortion, Holocaust jokes, and so on. It was clearly very cringe and embarrassing, and it seemed to immediately confirm my initial commentary about the utter emptiness of this \u201Ctransgression\u201D as an aesthetic pose. Most of these attempts at provocation were non sequiturs, but the one thread that ran throughout the discussion was an attempt to counter my initial challenge to the fascist avant-gardists. So the conversation kept coming back to Crumps this and Crumps that, but none of the points were memorable or worth answering. The woman next to me asked what the word everyone was talking about was, and I asked her if she meant \u201Cfascism,\u201D and she said yes. I said that it was like finding beauty in the cops brutalizing people. The younger guy on my other side was texting his friends a mile a minute and looked absolutely disgusted. I think he was hesitant to talk to me because he thought I was complicit in orchestrating this whole thing. 17dc91bb1f