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This, of course, might seem like a minor detail to iron out, but McNally’s inaccuracy on the point does have its consequences. Because he argues that the early template – the productionist template – has been abnegated, he then assumes that the aesthetic possibilities of exposing ‘the hidden world of labour and the disparities of class’ are also lost. 7 Unfortunately, this rings a double confusion. The modern-day zombie archetype has absorbed the element of ‘production’ into its aesthetic remit – it was never lost.

The awareness of the true character of justice simultaneously undermines the enforcer’s essential being and animating spirit, creating a violent spiritual schism. In Les Miserables, this occurs when Jean Valjean shows Javert mercy and kindness; so traumatic and shattering is this to his worldview that he is unable to assimilate it, and so, he takes his own life. When Leon confronts the criminals/heroes at the end of the film, he does not take the chance to pull the trigger, and instead, he simply ‘times out’.

He or she can transform necessity in accordance with self-activity. Such a combination of freedom and necessity could have never been embodied in fantasy form in a feudal archetype like Macbeth. The drama of Macbeth reaches its apogee when the forces of fate have imposed themselves fully; the limited degree of freedom the feudal subject possesses is subserviated to the overarching requirements of destiny. Thus, Macbeth’s corruption by fate overwhelms him and finishes him off. But in the case of Walter White – who is an archetype of the capitalist epoch – the fusion of freedom and necessity always contains the possibility that the moment of necessity might be subverted and transformed by the moment of freedom.

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