Jared Leto's Green Jacket Signals The Demise Of Late Capitalism And Nothing Matters Anymore

This is the beginning of the end.

Everything is crashing down around us. 

Donald Trump has clambered onto the political scene, a veritable King Kong of the bourgeoisie swatting at the proletariat from a tower which bears his name. Pokémon GO has brought with it the rapid demise of the knowledge economy as the world's elites distract themselves with meaningless tasks. 

But heroically, resting astride history itself, Hollywood stooge Jared Leto has now stripped back the curtain, revealing late capitalism for the large-scale pyramid scheme that it truly is. Unwittingly or not, he has changed the world, and our future.

At first, Leto's purchase of a green jacket may seem like any other simple exchange of goods. Yet capturing the varied stages of this process on film and distributing it widely was nothing short of a revolutionary act. Within these shots we can see the embers that will ultimately take flame and bring about the total demise of the neoliberal state.

First, consider the jacket's colour: green.

Green, the colour of envy, jealousy, malevolent lust. It is everywhere - the jacket, the lighting, Leto's own clothing. It dominates the room and shifts the mood. All are now complicit in this orgy of greed, a fuckfest of material desire that will not end until the structure of the global economy itself is undone. We are all victims here, both the observer and the observed.

A man, suited, bearded, sits to Leto's right. He frowns; something is bothering him. Could it be the question of who controls the means of production?

Plainly, yes. This is what plays at his mind.

Another man - all men, yes - co-opts the revolutionary spirit of the 1960s, a decade of free love that is now only a distant memory. His bandana rests uneasily, his denim jacket askew. He is a poor facsimile, his insides bare. 

He will be the first against the wall.

The bearer of the jacket, the blank slate upon which Leto projects his self-satisfied vision, stares defiantly into the middle distance. He realises that he is simply a cog in this machine, his love for this work having abandoned him long ago. He is gaining awareness of his own plight, and soon he will realise that others share in his despair. Forget him not, for he shall soon lead the way. He will return.

Let us now observe Leto's own expression. 

Sitting by the catwalk, he is clearly exhilerated. His face contorts itself into a wide grin, pure joy coursing through his body. He lives for this moment, he hopes that it will never end. But it will; it must. This is by design, for the jacket's scarcity is a falsehood, an illusion. Leto desires what he cannot have, yet of course, ultimately, he will.

The system withholds reward before releasing its material pleasures in order that these plebians may experience a moment of transcendence, fooling them with the belief that this is a moment they may yet recapture.

This is laid bare in the way Leto's expression changes over time (another construct, but that's a topic for a different day (yet another human construct)).

By the time he owns the jacket he has so coveted, the joy is gone. 

He wears it, yes, but he feels despondent. Empty. He gazes into the abyss, and it does not gaze back. It ignores him in much the same way he has always been ignored, by his family, friends, co-stars.

Lights flicker behind him, signalling yet another supposedly exciting affair, but he cannot engage. There is a distance between him and the world. He can no longer touch it, and for a brief - oh, so brief - moment, he wonders why.

Yet for the viewer a thought is sparked that cannot be extinguished. And thousands have viewed this sequence, oh yes, and thousands more will heed its message.

For capitalism brings no pleasure in this late stage, it brings only the despair which follows the fleeting belief that we may be able to escape it and the crushing realisation that we have not.

Now, there is no question that Francis Fukuyama's 'End of History' thesis has been comprehensively destroyed by this dope green jacket. He is revealed as a fraud, a charlatan. He is nothing.

Capitalism has nothing to offer beyond ever more DC movies and petitions by the deluded masses. Such people have failed to comprehend their class and pander to the bourgeosie, who manipulate them endlessly.

Thanks to Leto, this is no more. Though what follows is uncertain, we can be confident in casting off our worldly concerns. They do not matter.

Jared Leto's all-too public purchase may signal the beginning. 

But this is not the end.

By Scott Limbrick

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