Abstract
Popular Hollywood movies do not often attempt to meaningfully criticize capitalism. What proliferates, instead, are performative optics; media starts a revolution for us so capital can continue its death march forward, unphased. Academia has begun to wrestle with the concept of accelerationism—that is, the full maximization of capitalism’s mechanics as a destabilizing strategy. Though accelerationism may lack merit as a political praxis, this article frames it as a subversive narrative strategy in popular media, fully embodied through the final installment of Paul W. S. Anderson’s film adaptation of the Resident Evil video game franchise, Resident Evil: The Final Chapter (2016).
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