Abstract
In 1986 Michael Jackson collaborated with Francis Ford Coppola and George Lucas on a Disney theme park attraction entitled Captain EO. The production was trumpeted as an advancement in 4D entertainment for its fusion of 3D film with in-theater physical effects. Such "innovation" was propelled by interactive depictions of anti-Black violence that resembled the practices of chattel slavery. I contend that the 4D mechanics of Captain EO exploited racialized violence to envision a future that hardly deviated from the lived conditions of the late twentieth century. In doing so, the attraction activated desires for racial harmony yet left audiences disconnected from the material urgencies of social transformation.
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