Here\u2019s an interesting article on the underlying philosophical messages found in <\/span>various Pixar movies<\/span><\/strong><\/span><\/a>. The author of the article discovered a recurring transhumanist theme in most of the company\u2019s features along with a specific view on the definition of being \u201chuman\u201d. Although the author concludes by saying: \u201cThrough Pixar, we have opened ourselves to a better future\u201d,<\/em> I\u2019ll be a little less enthusiastic and conclude by saying \u201cThrough Pixar, we have programmed ourselves to a specific vision of the future\u201d. Here\u2019s the article from<\/span> Discover Magazine<\/span><\/strong><\/a>.<\/p>\n I love Pixar. Who doesn\u2019t? The stories are magnificently crafted, the characters are rich, hilarious, and unique, and the images are lovingly rendered.\u00a0Without fail, John Ratzenberger\u2019s iconic voice makes a cameo in some boisterous character. Even if you haven\u2019t seen every film they\u2019ve made (I refuse to watch\u00a0Cars <\/em>or its preposterous sequel), there is a consistency and quality to Pixar\u2019s productions that is hard to deny.<\/span><\/p>\n Popular culture is often dismissed as empty \u201cpopcorn\u201d fare. Animated films find themselves doubly-dismissed as \u201cfor the kids\u201d and therefore nothing to take too seriously. Pixar has shattered those expectations by producing commercially successful cinematic art about the fishes in our fish tanks and the bugs in our backyards.\u00a0Pixar films contain a complex, nuanced, philosophical and political essence that, when viewed across the company\u2019s complete corpus, begins to emerge with some clarity.<\/span><\/p>\n Buried within that constant \u00a0and complex goodness is a hidden message.<\/span><\/p>\n Now, this is not your standard \u201cDisney movies hide double-entendres and sex imagery in every film\u201d hidden message. \u201cSo,\u201d\u00a0you ask, incredulous, \u201cWhat could one of the most beloved and respected teams of filmmakers in our generation possibly be hiding from us?\u201d Before you dismiss my claim, consider what is at stake. Hundreds of millions of people have watched Pixar films. Many of those watchers are children who are forming their understanding of the world. The way in which an entire generation sees life and reality is being shaped, in part, by Pixar.<\/span><\/p>\n What if I told you they were preparing us for the future? What if I told you Pixar\u2019s films will affect how we define the rights of millions, perhaps billions, in the coming century?\u00a0Only by analyzing the collection as a whole can we see the subliminal concept being drilled into our collective mind.\u00a0I have uncovered the skeleton key\u00a0deciphering the hidden message contained within the Pixar canon. Let\u2019s unlock it.<\/span><\/p>\n Before we begin, I ask you to watch the video below. Leandro Copperfield stitched together this seven minute tribute to \u201cThe Beauty of Pixar.\u201d Full screen. HD. I dare you to not be moved.<\/span><\/p>\n People love these films. They are a part of our lives and of our culture. Pixar has artfully built a universe of beloved critters and beings that populate our popular\u00a0consciousness. The analysis that follows is in the spirit of reverence and respect for the great contribution Pixar has made to our world.<\/span><\/p>\n To understand Pixar films, one must first to go back to Disney before Toy Story <\/em>was released \u2013 to be precise, The Lion King<\/em>. On top of being my favorite Shakespeare adaptation, The Lion King<\/em> is the only Disney film to date with zero references to the existence of human beings. Disney and Pixar rarely have humans as the sole intelligent entities in their movies. Excluding plots requiring magic, non-human characters in Disney films are either anthropomorphous animals (e.g. walking upright, wearing clothes, drinkin\u2019 out of cups) that take the place of humans (e.g. Robin Hood<\/em> or The Rescuers<\/em>) or are animals with a preternatural awareness of and ability to interact with feral human beings (e.g. The Jungle Book<\/em> or Tarzan<\/em>). The Lion King<\/em> stands out in that the universe is animal only. There is no trash on the Serengeti, no airplanes flying over, no animals in hats or walking unnaturally on hind legs. You can\u2019t even date when the story takes place, because there are no human references from which to calculate an approximation. Save for the fact that Zazu knows \u201cI\u2019ve Got a Lovely Bunch of Coconuts,\u201d there is no evidence that the characters within The Lion King<\/em> even know humans exist.<\/span><\/p>\n The Lion King<\/em> gives us a clean slate. We know what a non-human world looks like. Now we can tackle how Pixar handles people.<\/span><\/p>\n The relationship between humans and the non-human characters is critical to understanding Pixar\u2019s movies. There are certain rules in Pixar movies that make things far more interesting than the average Disney fairy tale. The first is that there is no magic<\/em>. No problems are caused or fixed by the wave of a wand. Second, every Pixar film happens in the world of human beings (see why I excluded Cars<\/em>? It\u2019s ridiculous and out of character for Pixar). Even in films like a A Bug\u2019s Life<\/em> and Finding Nemo<\/em>, in which humans only exist as backdrops for the action, humanity\u2019s presence in the story is essential. The first two rules are pretty direct: the universe Pixar\u2019s characters inhabit is non-magical and co-inhabited by humans.<\/span><\/p>\n The third rule is that at least one main character is an intelligent being that isn\u2019t a human. This rule is a bit complex, so let\u2019s flesh it out. There are two types human roles in Pixar films. The first is Human as Villain<\/strong>. In films like the Toy Story 1, 2, & 3<\/em>, A Bug\u2019s Life<\/em>, and Finding Nemo<\/em>, the protagonists are all non-human. Ancillary characters like Sid, the Collector, and Darla are not main characters. A more accurate description would be that they are pieces of the environment and, on occasion, playing the role of supporting antagonist.\u00a0The second type of Pixar film is Human as Partner<\/strong>. In these films, the main character befriends a human being as part of the hero\u2019s journey: Remy, Colette, and Linguini; WALL-E, EVE, Mary and John; Sully, Mike, and Boo; <\/span>Russell, Carl, Kevin and Dug<\/span><\/strong><\/span><\/a>. These are the heroic teams of their respective films.<\/span><\/p>\n In each Pixar film, at least one member of the team is human and at least one member is not human but possesses human levels of intelligence.<\/span><\/p>\n You can see where I\u2019m going here. Particularly in WALL\u2022E,Ratatouille<\/em> and\u00a0Up!<\/em> there is no ambiguity about the reality of intelligence in the non-human characters. Each Pixar film asks us to accept one deviation from our reality. While it seems like the deviation is different in every case (e.g. monsters are real, robots can fall in love, fish have a sense of family, Kevin is a girl, a rat can cook), the simple fact is that Pixar only asks us to accept one idea over and over and over again: <\/strong><\/span><\/p>\n Non-humans are\u00a0<\/span><\/span>sentient<\/span><\/a> <\/span>beings<\/span><\/strong>. That is the central difference between Pixar\u2019s universe and our current reality.<\/span><\/p>\n That idea alone would suffice to show that Pixar films are all but propaganda for the concept of non-human personhood. But that is where the hidden message begins<\/em>.<\/span><\/p>\n What makes these films so astonishing and the message so powerful is the story arc of the Human as Partner narrative. The story begins with a non-human living among a familiar setting. Be it WALL-E alone among the garbage, Remy with his massive extended family, or Sully and Mike Wazowski on their way to work, we are introduced to the hero in relative normalcy. Yet each of these characters deviate from their fellow non-humans. Remy wants to cook. WALL-E falls in love. In each case, the deviant non-human is ostracized. Dug is laughed at for his ineptitude and Sully and Mike are banished to live with the\u00a0 Agreeable Snowman.<\/span><\/p>\n In being ostracized, however, the non-human encounters a human. Remy, lost in the kitchen, meets Linguini. Kevin and Dug both partner up with Carl and Russell. The deviant behavior acts as a catalyst for the first interaction. Furthermore, the human is also deviant. Boo is not afraid of monsters. John and Mary (the two people who help WALL-E and EVE) get out of their hover chairs and look away from the screens. Carl escapes the old folks home with a balloon-house airship. A team is formed when the mutual outsiders recognize a shared sense of purpose. Human and non-human rebels alike seek out each other.\u00a0In combining efforts, however, the team doubles their opposition, with the non-human and human normative majorities rejecting and condemning their behavior. Remy is criticized by his father and alienates his friends while Linguini loses the respect of the entire kitchen and is at risk of having the restaurant closed for health violations. There is a high cost for non-conformity.<\/span><\/p>\n The new is seen as dangerous and therefore feared. <\/strong>Pixar\u2019s Human as Partner films emphasize that should a non-human intelligence arise, be it a rat or a robot or a monstrous alien, there will be no welcoming with arms wide open from either side.<\/span><\/p>\n Victory in the battle for the rights and respect from both groups will come from an act of exemplary personhood and humaneness by those who dare to break ranks with their kind.\u00a0Thus, the Human as Partner story arc ends with the capitulation of those who refused to recognize the personhood of the non-human and a huge reward coming to those who accepted the non-humans as fellow persons. In Monsters Inc.<\/em> Mike and Sully discover that laughter yields far more energy than screams. In Ratatouille<\/em> Anton Ego has an epiphany and gives <\/span>one of my favorite <\/span><\/strong><\/span><\/a>speeches<\/span><\/strong><\/span><\/a> <\/span>of all time in response to a Proustian flashback he experiences after eating Remy\u2019s cooking. In WALL\u2022E<\/em> none less than the human race is saved from the brink of self-induced-extinction. In short, the benefits for humanity are tremendous in every case where non-human persons are treated with respect.<\/span><\/p>\n There is one Pixar film that does not fit either the Humans as Villains or Humans as Partner structure: The Incredibles<\/em>. Instead of non-human protagonists, we are treated to super-<\/em>human protagonists and antagonists. Yet the struggle from outcast to redeemer is the same, only this time, it is because the super-humans come together as a family. What enables the Incredible family to succeed is not that they are superhuman but that they are humane;<\/em> that they love, support, and protect one another. As a result, the society that once feared and banished them sees the supers not as Others, but has fellow members of humanity.<\/span><\/p>\n Taken together as a whole narrative, the Pixar canon diagrams what will likely this century\u2019s main rights battle \u2013 the rights of personhood \u2013 in three stages.<\/span><\/p>\n First <\/strong>are\u00a0the Humans as Villain stories, in which the non-humans discover and develop personhood. I mean, Buzz Lightyear\u2019s character arc is about his becoming self-aware as a toy. These films represent nascent personhood among non-human entities. For the viewer, we begin to see how some animals and items we see as mindless may have inner lives of which we are unaware.<\/span><\/p>\n Second <\/strong>are the Humans as Partners stories, in which exceptional non-humans and exceptional humans share a moment of mutual recognition of personhood. The moment when Linguini realizes Remy is answering him is second only to the moment when Remy shows Ego around the kitchen \u2013 such beautiful transformations of the Other into the self. These films represent the first forays of non-human persons into seeking parity with human beings.<\/span><\/p>\n Third<\/strong>, and finally,\u00a0there is The Incredibles<\/em>, which turns the personhood equation on its head. Instead of portraying the struggle for non-humans to be accepted as human, The Incredibles<\/em> shows how human enhancement, going beyond the human norm, will trigger equally strong reactions of revulsion and otherization. The message, however, is that the human traits we value have nothing to do with our physical powers but are instead based in our moral and emotional bonds. Beneficence and courage require far more humanity than raw might. The Incredibles<\/em> teaches a striking lesson: human enhancement does not make you inhuman\u00a0\u2013 the choices you make and the way you treat others determines how human you really are.<\/span><\/p>\n Pixar has given those who would fight for personhood the narratives necessary to convince the world that non-humans that display characteristics of a person deserve the rights of a person. For every category there is a character: uplifted animals (Dug), naturally intelligent species (Remy and Kevin), A.I robots (WALL-E, EVE), and alien\/monsters (Sully & Mike). Then there is the Incredible family, transhumans with superpowers. Through the films, these otherwise strange entities become \u00a0unmistakably familiar, so clearly akin to us.<\/span><\/p>\n The message hidden inside Pixar\u2019s magnificent films is this: humanity does not have a monopoly on personhood. In whatever form non- or super-human intelligence takes, it will need brave souls on both sides to defend what is right. If we can live up to this burden, humanity and the world we live in will be better for it.<\/span><\/strong><\/p>\n An entire generation has been reared with the subconscious seeds of these ideas planted down deep.\u00a0As history moves forward and technology with it, these issues will no longer be the imaginings of films and fiction, but of politics and policy. But\u00a0Pixar has settled the personhood debate before it arrives.\u00a0By watching our favorite films, we have been taught that being human is not the same as being a person. We have been shown that new persons and forms of personhood can come from anywhere. Through Pixar, we have opened ourselves to a better future.<\/span><\/p>\n ** Note: I DID NOT WRITE THIS ARTICLE<\/em>, it is from Discover Magazine<\/a>.<\/p>\n
![various Pixar movies<\/span><\/strong><\/span><\/a>. The author of the article discovered a recurring transhumanist theme in most of the company\u2019s features along with a specific view on the definition of being \u201chuman\u201d. Although the author concludes by saying: \u201cThrough Pixar, we have opened ourselves to a better future\u201d,<\/em> I\u2019ll be a little less enthusiastic and conclude by saying \u201cThrough Pixar, we have programmed ourselves to a specific vision of the future\u201d. Here\u2019s the article from<\/span> Discover Magazine<\/span><\/strong><\/a>.<\/p>\nI love Pixar. Who doesn\u2019t? The stories are magnificently crafted, the characters are rich, hilarious, and unique, and the images are lovingly rendered.\u00a0Without fail, John Ratzenberger\u2019s iconic voice makes a cameo in some boisterous character. Even if you haven\u2019t seen every film they\u2019ve made (I refuse to watch\u00a0Cars <\/em>or its preposterous sequel), there is a consistency and quality to Pixar\u2019s productions that is hard to deny.<\/span><\/p>\nPopular culture is often dismissed as empty \u201cpopcorn\u201d fare. Animated films find themselves doubly-dismissed as \u201cfor the kids\u201d and therefore nothing to take too seriously. Pixar has shattered those expectations by producing commercially successful cinematic art about the fishes in our fish tanks and the bugs in our backyards.\u00a0Pixar films contain a complex, nuanced, philosophical and political essence that, when viewed across the company\u2019s complete corpus, begins to emerge with some clarity.<\/span><\/p>\nBuried within that constant \u00a0and complex goodness is a hidden message.<\/span><\/p>\nNow, this is not your standard \u201cDisney movies hide double-entendres and sex imagery in every film\u201d hidden message. \u201cSo,\u201d\u00a0you ask, incredulous, \u201cWhat could one of the most beloved and respected teams of filmmakers in our generation possibly be hiding from us?\u201d Before you dismiss my claim, consider what is at stake. Hundreds of millions of people have watched Pixar films. Many of those watchers are children who are forming their understanding of the world. The way in which an entire generation sees life and reality is being shaped, in part, by Pixar.<\/span><\/p>\nWhat if I told you they were preparing us for the future? What if I told you Pixar\u2019s films will affect how we define the rights of millions, perhaps billions, in the coming century?\u00a0Only by analyzing the collection as a whole can we see the subliminal concept being drilled into our collective mind.\u00a0I have uncovered the skeleton key\u00a0deciphering the hidden message contained within the Pixar canon. Let\u2019s unlock it.<\/span><\/p>\nBefore we begin, I ask you to watch the video below. Leandro Copperfield stitched together this seven minute tribute to \u201cThe Beauty of Pixar.\u201d Full screen. HD. I dare you to not be moved.<\/span><\/p>\nPeople love these films. They are a part of our lives and of our culture. Pixar has artfully built a universe of beloved critters and beings that populate our popular\u00a0consciousness. The analysis that follows is in the spirit of reverence and respect for the great contribution Pixar has made to our world.<\/span><\/p>\nTo understand Pixar films, one must first to go back to Disney before Toy Story <\/em>was released \u2013 to be precise, The Lion King<\/em>. On top of being my favorite Shakespeare adaptation, The Lion King<\/em> is the only Disney film to date with zero references to the existence of human beings. Disney and Pixar rarely have humans as the sole intelligent entities in their movies. Excluding plots requiring magic, non-human characters in Disney films are either anthropomorphous animals (e.g. walking upright, wearing clothes, drinkin\u2019 out of cups) that take the place of humans (e.g. Robin Hood<\/em> or The Rescuers<\/em>) or are animals with a preternatural awareness of and ability to interact with feral human beings (e.g. The Jungle Book<\/em> or Tarzan<\/em>). The Lion King<\/em> stands out in that the universe is animal only. There is no trash on the Serengeti, no airplanes flying over, no animals in hats or walking unnaturally on hind legs. You can\u2019t even date when the story takes place, because there are no human references from which to calculate an approximation. Save for the fact that Zazu knows \u201cI\u2019ve Got a Lovely Bunch of Coconuts,\u201d there is no evidence that the characters within The Lion King<\/em> even know humans exist.<\/span><\/p>\nThe Lion King<\/em> gives us a clean slate. We know what a non-human world looks like. Now we can tackle how Pixar handles people.<\/span><\/p>\nThe relationship between humans and the non-human characters is critical to understanding Pixar\u2019s movies. There are certain rules in Pixar movies that make things far more interesting than the average Disney fairy tale. The first is that there is no magic<\/em>. No problems are caused or fixed by the wave of a wand. Second, every Pixar film happens in the world of human beings (see why I excluded Cars<\/em>? It\u2019s ridiculous and out of character for Pixar). Even in films like a A Bug\u2019s Life<\/em> and Finding Nemo<\/em>, in which humans only exist as backdrops for the action, humanity\u2019s presence in the story is essential. The first two rules are pretty direct: the universe Pixar\u2019s characters inhabit is non-magical and co-inhabited by humans.<\/span><\/p>\nThe third rule is that at least one main character is an intelligent being that isn\u2019t a human. This rule is a bit complex, so let\u2019s flesh it out. There are two types human roles in Pixar films. The first is Human as Villain<\/strong>. In films like the Toy Story 1, 2, & 3<\/em>, A Bug\u2019s Life<\/em>, and Finding Nemo<\/em>, the protagonists are all non-human. Ancillary characters like Sid, the Collector, and Darla are not main characters. A more accurate description would be that they are pieces of the environment and, on occasion, playing the role of supporting antagonist.\u00a0The second type of Pixar film is Human as Partner<\/strong>. In these films, the main character befriends a human being as part of the hero\u2019s journey: Remy, Colette, and Linguini; WALL-E, EVE, Mary and John; Sully, Mike, and Boo; <\/span>Russell, Carl, Kevin and Dug<\/span><\/strong><\/span><\/a>. These are the heroic teams of their respective films.<\/span><\/p>\nIn each Pixar film, at least one member of the team is human and at least one member is not human but possesses human levels of intelligence.<\/span><\/p>\nYou can see where I\u2019m going here. Particularly in WALL\u2022E,Ratatouille<\/em> and\u00a0Up!<\/em> there is no ambiguity about the reality of intelligence in the non-human characters. Each Pixar film asks us to accept one deviation from our reality. While it seems like the deviation is different in every case (e.g. monsters are real, robots can fall in love, fish have a sense of family, Kevin is a girl, a rat can cook), the simple fact is that Pixar only asks us to accept one idea over and over and over again: <\/strong><\/span><\/p>\nNon-humans are\u00a0<\/span><\/span>sentient<\/span><\/a> <\/span>beings<\/span><\/strong>. That is the central difference between Pixar\u2019s universe and our current reality.<\/span><\/p>\nThat idea alone would suffice to show that Pixar films are all but propaganda for the concept of non-human personhood. But that is where the hidden message begins<\/em>.<\/span><\/p>\nWhat makes these films so astonishing and the message so powerful is the story arc of the Human as Partner narrative. The story begins with a non-human living among a familiar setting. Be it WALL-E alone among the garbage, Remy with his massive extended family, or Sully and Mike Wazowski on their way to work, we are introduced to the hero in relative normalcy. Yet each of these characters deviate from their fellow non-humans. Remy wants to cook. WALL-E falls in love. In each case, the deviant non-human is ostracized. Dug is laughed at for his ineptitude and Sully and Mike are banished to live with the\u00a0 Agreeable Snowman.<\/span><\/p>\nIn being ostracized, however, the non-human encounters a human. Remy, lost in the kitchen, meets Linguini. Kevin and Dug both partner up with Carl and Russell. The deviant behavior acts as a catalyst for the first interaction. Furthermore, the human is also deviant. Boo is not afraid of monsters. John and Mary (the two people who help WALL-E and EVE) get out of their hover chairs and look away from the screens. Carl escapes the old folks home with a balloon-house airship. A team is formed when the mutual outsiders recognize a shared sense of purpose. Human and non-human rebels alike seek out each other.\u00a0In combining efforts, however, the team doubles their opposition, with the non-human and human normative majorities rejecting and condemning their behavior. Remy is criticized by his father and alienates his friends while Linguini loses the respect of the entire kitchen and is at risk of having the restaurant closed for health violations. There is a high cost for non-conformity.<\/span><\/p>\nThe new is seen as dangerous and therefore feared. <\/strong>Pixar\u2019s Human as Partner films emphasize that should a non-human intelligence arise, be it a rat or a robot or a monstrous alien, there will be no welcoming with arms wide open from either side.<\/span><\/p>\nVictory in the battle for the rights and respect from both groups will come from an act of exemplary personhood and humaneness by those who dare to break ranks with their kind.\u00a0Thus, the Human as Partner story arc ends with the capitulation of those who refused to recognize the personhood of the non-human and a huge reward coming to those who accepted the non-humans as fellow persons. In Monsters Inc.<\/em> Mike and Sully discover that laughter yields far more energy than screams. In Ratatouille<\/em> Anton Ego has an epiphany and gives <\/span>one of my favorite <\/span><\/strong><\/span><\/a>speeches<\/span><\/strong><\/span><\/a> <\/span>of all time in response to a Proustian flashback he experiences after eating Remy\u2019s cooking. In WALL\u2022E<\/em> none less than the human race is saved from the brink of self-induced-extinction. In short, the benefits for humanity are tremendous in every case where non-human persons are treated with respect.<\/span><\/p>\nThere is one Pixar film that does not fit either the Humans as Villains or Humans as Partner structure: The Incredibles<\/em>. Instead of non-human protagonists, we are treated to super-<\/em>human protagonists and antagonists. Yet the struggle from outcast to redeemer is the same, only this time, it is because the super-humans come together as a family. What enables the Incredible family to succeed is not that they are superhuman but that they are humane;<\/em> that they love, support, and protect one another. As a result, the society that once feared and banished them sees the supers not as Others, but has fellow members of humanity.<\/span><\/p>\nTaken together as a whole narrative, the Pixar canon diagrams what will likely this century\u2019s main rights battle \u2013 the rights of personhood \u2013 in three stages.<\/span><\/p>\nFirst <\/strong>are\u00a0the Humans as Villain stories, in which the non-humans discover and develop personhood. I mean, Buzz Lightyear\u2019s character arc is about his becoming self-aware as a toy. These films represent nascent personhood among non-human entities. For the viewer, we begin to see how some animals and items we see as mindless may have inner lives of which we are unaware.<\/span><\/p>\nSecond <\/strong>are the Humans as Partners stories, in which exceptional non-humans and exceptional humans share a moment of mutual recognition of personhood. The moment when Linguini realizes Remy is answering him is second only to the moment when Remy shows Ego around the kitchen \u2013 such beautiful transformations of the Other into the self. These films represent the first forays of non-human persons into seeking parity with human beings.<\/span><\/p>\nThird<\/strong>, and finally,\u00a0there is The Incredibles<\/em>, which turns the personhood equation on its head. Instead of portraying the struggle for non-humans to be accepted as human, The Incredibles<\/em> shows how human enhancement, going beyond the human norm, will trigger equally strong reactions of revulsion and otherization. The message, however, is that the human traits we value have nothing to do with our physical powers but are instead based in our moral and emotional bonds. Beneficence and courage require far more humanity than raw might. The Incredibles<\/em> teaches a striking lesson: human enhancement does not make you inhuman\u00a0\u2013 the choices you make and the way you treat others determines how human you really are.<\/span><\/p>\nPixar has given those who would fight for personhood the narratives necessary to convince the world that non-humans that display characteristics of a person deserve the rights of a person. For every category there is a character: uplifted animals (Dug), naturally intelligent species (Remy and Kevin), A.I robots (WALL-E, EVE), and alien\/monsters (Sully & Mike). Then there is the Incredible family, transhumans with superpowers. Through the films, these otherwise strange entities become \u00a0unmistakably familiar, so clearly akin to us.<\/span><\/p>\nThe message hidden inside Pixar\u2019s magnificent films is this: humanity does not have a monopoly on personhood. In whatever form non- or super-human intelligence takes, it will need brave souls on both sides to defend what is right. If we can live up to this burden, humanity and the world we live in will be better for it.<\/span><\/strong><\/p>\nAn entire generation has been reared with the subconscious seeds of these ideas planted down deep.\u00a0As history moves forward and technology with it, these issues will no longer be the imaginings of films and fiction, but of politics and policy. But\u00a0Pixar has settled the personhood debate before it arrives.\u00a0By watching our favorite films, we have been taught that being human is not the same as being a person. We have been shown that new persons and forms of personhood can come from anywhere. Through Pixar, we have opened ourselves to a better future.<\/span><\/p>\n** Note: I DID NOT WRITE THIS ARTICLE<\/em>, it is from Discover Magazine<\/a>.<\/p>\nSource <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Popular culture is often dismissed as empty \u201cpopcorn\u201d fare. While animated films are doubly-dismissed as \u201cfor the kids\u201d. However, there may be more to Pixar\u2019s productions than is apparent <\/p>\n","protected":false},"author":127,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[53,25],"tags":[],"class_list":["post-27318","post","type-post","status-publish","format-standard","hentry","category-mind_control","category-The_Media"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/27318","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=\/wp\/v2\/users\/127"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=27318"}],"version-history":[{"count":8,"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/27318\/revisions"}],"predecessor-version":[{"id":27626,"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=\/wp\/v2\/posts\/27318\/revisions\/27626"}],"wp:attachment":[{"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=27318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=27318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thetruthseeker.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=27318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"http:\/\/vigilantcitizen.com\/wp-content\/uploads\/2011\/05\/up_dug-e1306424419371.jpeg\"){kind=link}