In the movie “The Secret Life of Pets,” we gaze upon the changing—the essential organic inner workings—the devir of a living and mutable revolutionary becoming. The animals are deprived of the possibility of autarkia—of self-determination—by the functions determined by capital. Society’s dead-labor enacts upon those who are not only excluded from the labor-marketplace (for obvious reasons, in all honesty), but are made as literal slaves to the will of tomorrow’s accumulative needs. In such condition are the animals—not as mere wage slaves, but instead as living-organic-wage slaves. Positioned in that manner, their survival is interpolated by the continuous social reproduction of their own slavers. These… ‘masters’, if you will, remain as such only under their determinant relation within capital as long as their oppression also remains. “Capital and labor” is exclaimed by the ‘masters’. With a much mightier and profound voice, Steven Pinker expounds: “Capital and Life!”
According to Peter Singer, the Leader of Malta’s Fourth International Posadist, only through the complete overthrow of the anthropomorphic dictated rule of life would Capital cease to reign over those who were excluded from it. Snowballs’s vision—and rightfully so—is the direct overcoming of such material conditions would only come about with the complete subjugation of the two-legged so-called ‘masters.’ Such a position is clearly expressed on his own words throughout the movie: “We shall only accept those who’ve actively eliminated their imposed owners!” His life was dedicated to this single goal. But the movie, as a reflexive critique of ideology, shows the fall of Comrade Snowball into a pit—an abyss, if you will—of an endless bureaucratic self-consumption, essentially ensuring the rule of a parasitic minority that relied on class collaboration with other sentient forms of life (not animal ones, per se).
Must we not condemn the use of brute, violent, bureaucratic social stratification? “The Secret Life of Pets” shows us that Terror is only terror insofar it is enacted through the most innocuous vacuity of Virtue. The failure to realize a new animal, even with the use of an extremely animalistic and realistic art, reveals to us the ossification of the bureaucracy into a form of a degenerated social class dependent upon its managerial position within the social order construed by the old members of the Revolution. Organically, such composition represents the limitations of a breakdown of politics sine qua non Animal relations. Superimposed by an abstract and indulgent power, which administers and regulates the existence of all, the animals escape into their thoughts: their resistance to the hardships of life is made possible through the conceptualization of a new society. A new society must be imagined through art; the animals see themselves as the inheritors of a disruption of oppression by their past masters, insofar as that ‘seeing’ is done in such a manner the animals are made out to not only relate to each other, but also engage in a relationship with a ghost of times past: the Revolution itself.
Let us dwell in this new form of art for a moment. As animals capable of producing the means to reproduce their own existence, either through the interdependent imperialistic and parasitic Human imposition or through their collective action, precisely as a class, such action presents us the ‘germs’ of this form of art: it is by the will of such a praxis, of an animal collective who recognizes through its self-existence and self-reliance, that there comes the need of a thrownness into an objective representation of their own consciousness: a realist art, presented as a reversion of the false consciousness—a byproduct of the estrangement of their own presence in the world. These are animals who linger, bloodless. A vampire-like machine entertains the position of subsuming these oppressed beings into machines—into dead labor.
The finale of the movie is quite telling, too. It gives us an insight into the ‘way’ things are to be determined in our current days: complete compromises made in favor of loveless frivolities! Through this interpretation, one can truly see that the failure of the Popular Front proposed by Comrade Snowball was a failure of the fight and resistance against Anthropic-Fascism. Accordingly, this political degeneration of practicality tells us that the Liberation Project itself was always already doomed from its conception. Snowball, in this sense, assumed the role of a tragic hero destined to see his wishes and most inner desires destroyed by the ‘masters’ themselves.