Wall-E as the Anti-Consumerist: Autonomy from the Automaton

Pleasure. Gratification. Fulfillment. On the individual level, we as humans are driven to satiate these urges. And once we get a taste of amusement and joy, we keep on coming back for more. And more. And more.

In Andrew Stanton’s Pixar animated film Wall-E, we see the culmination of all of our gluttonous desires: excessive consumerism and environmental neglect. Transformed into an unsustainable wasteland, the Earth becomes an amplified dumpster, filled at every corner with litter. This forces human civilization to leave the planet on a cruise-like spaceship called the Axiom, owned by corporate powerhouse Buy-N-Large (BnL), the same enterprise that spawned the beginnings of this future society’s detrimental consumer culture. And even aboard the Axiom, humans are still showered with luxurious facilities, from flying automated robochairs to fattening foods all served in a cup. A sociological nightmare disguised as paradise, the Axiom is the epitome of consumerism gone rogue.

Thus, the underlying anti-consumerist critiques embedded within Wall-E have been explored numerous times in film and media scholarship. Although many scholars interpreted specific scenes differently, they all agree that Wall-E forces viewers to reflect upon their luxurious lifestyles and habits. In addition to these claims, however, I’ve come to identify Wall-E’s unique individuality and its contrast against the Axiom’s monotonous society. What I found to be so interesting is how Wall-E, the side-product of human consumerism, has transcended his programmed state to develop a sentient identity amid his isolation and loneliness. Meanwhile, humans aboard the Axiom, although doused in endless amenities and services, appear identical, each resembling the same baby-like figures in the same colored jumpsuits, a community with little diversity. As stated by Hugh McNaughtan, a professor in Culture and Communication, the Axiom is society where “the seasons are no more, and consumption has been perfected as the ‘total organization of everyday life’” (McNaughtan 755), which allows Wall-E to criticize “mass society by literalizing consumerism’s disciplinary nets, satirizing the infantilization of the subject for whom life is ‘totally organized’” (760).

Using insight about human consumerism, I will argue that Wall-E not only criticizes post-modern consumerism in the ways I have already addressed, but also critiques the ways it denies individuals agency and freedom of thought, especially within a large group setting. Indeed, I believe that these to have far-reaching implications in the realm of human self-determination, and it's proven through the little robot who knows a bit better. The Society Aboard the Axiom

When Wall-E spontaneously hops on the Axiom with EVE into the intergalactic unknown, viewers can immediately witness the sumptuous and opulent lifestyle of the spaceship’s inhabitants. They virtually have everything that a human could possibly want: a robochair that serves as the human’s brisk and automated form of transportation, a digitized video screen that allows humans to communicate without actually interacting with the individual in person, food in a cup for easy mass consumption, and countless other amenities and goods that place humans in a bubble of comfort (41:10).

However, what sounds like euphoric heaven looks more so like a dystopic mess. Although enveloped in luxury and relaxation, each inhabitant appears to look the same, all sporting the same obese baby-like figure in the same bright red jumpsuit. In essence, their rampant consumer cravings have morphed individuals to literally look the same and experience identical living routines. And by conforming to this gluttonous standard, humans have given up their sense of autonomy and originality. For instance, when Wall-E disables one of the woman’s video call and robochair, she suddenly observes her surroundings (possibly for the first time) and gains consciousness of where she actually is (42:17). Before, she was deeply absorbed in her call, mindlessly unaware of her surrounding environment and what is actually happening aboard the Axiom. Yet, when these consumerist technologies were temporarily taken away, the sudden surprised expression on her face indicates the realization of her actions and forces her to face the true reality of the Axiom. This specific scene emphasizes how the Axiom’s horrific consumerist intentions can affect the mind; there’s a lack of individual independence when everybody is engrossed in consumer culture.

And once more and more people begin to immerse themselves in these self-pleasuring products, it’s human nature to want the same amenities and goods for the sake of conformity, so much to the point where we are rendered submissive to these commodities. Therefore, the society aboard the Axiom is a prime example of this effect. Once a new consumer product is introduced, like the blue jumpsuit (41:40), all of its inhabitants immediately change their color with the press of a button without any thought because 1) It is considered a “signature” clothing apparel and 2) Everybody else is sporting the latest fashion fad. Undoubtedly, humans within this society have yielded their own character to consumerism and their insatiable desires.

Technological Progression for Human Regression

In fact, some might argue that the Axiom’s evil autopilot (referred to as Auto) is the metaphorical representation of how technological progress for human convenience can perpetuate not only conformity, but also dystopic absolutism. According to Sean Mattie, a professor in Political Science, technology in Wall-E “seems to have liberated humanity from the necessity of work but also of politics—of the need to rule and be ruled in a community” which means that “the political order on the Axiom lies in the classes of robots” (Mattie 16). Overrun by a craving for constant fulfillment, work is sheltered from the humans, and so are the needs for a civilized order on both an individual and community level.

Part of this is to be blamed on Auto, who essentially hides any information of returning to the Earth from any of the ship’s inhabitants and distracts them by continuously running the Axiom’s operations and luxurious services for the humans. This illusion that Auto creates is even furthered through his interactions with the Captain of the Axiom, who “has actually relieved the Captain of all responsibility of ruling, yet Auto pretends to be completely subordinate to the Captain and dependent on his will” (17). Later, after EVE discovers and brings the seedling to the ship, the Captain becomes cognizant of Operation Recolonize, a plan for Buy-N-Large to return humanity to Earth after the discovery of vegetation. However, Auto selfishly believes that this operation is a threat to his consumer-based society on the Axiom, which leads him to hide the plant and take desperate measures to divert the Captain’s attention away from this plan. Exemplifying the evil side of Artificial Intelligence, the introduction of Auto into the film’s plot proves that if we choose to collectively succumb to our insatiable requests, then these desires for technological progress will eventually gain full charge and authority over not only our actions, but even what we see and believe.

The Culprit

Thus far, we have examined the effects of consumer culture. But, who’s truly to blame? Christopher Anderson, an associate professor in English, states that “in the assigning blame for this state of affairs, the film takes aim at three targets: twenty-first-century style corporations, individual consumers, and technology” (Anderson 268). First, we have the corporation Buy-N-Large, whose company name speaks for itself. As the megacompany who built the automated hover chairs and smorgasbord of food, “individuality and independent thought have eroded under the weight of corporate power” (268). This is because corporate power takes the immoral role of political, economic, and social power, both in the film and real-life. In our current state of politics, powerhouse corporations can influence the positions of policymakers, in which they can pour millions of dollars into implementing favorable laws that further the ongoing success of enormous capital companies. And within the context of the film, we see the worst case scenario: one monopolistic entity serving as not only the main supplier of all human goods, but also the political structure.

Then, we have individual consumers themselves. As the actual constituents who succumb to these consumerist cravings, it’s no surprise that so many of the film’s scenes poke fun at American culture’s obsession with social media, entertainment, overeating, and advertising. And eventually, the film shows that this culture “facilitates a learned helplessness as it blinds people to their own degenerated condition” (269). As human beings, consumer culture can pose as a neurotic distraction from impending doom, both internally and externally. Internally, this post-modern culture harms physical and mental health through overconsumption and a lack of exercise, despite some innovative advancements. Externally, this culture distracts society from the deterioration of our environment, a magnified outcome that forces Wall-E’s world to eventually evacuate the planet for years.

And finally, we have the technology. From the hovering robochairs to the spaceship itself, the “obsession with technology has turned future people into mindless, exaggeratedly obese caricatures” (269). Although new developments are pivotal for society’s advancement, many of them are now based upon the “wants” of individuals rather than the “need.” And as a result, this incentive creates the democratization of human pleasures, driving the capitalistic forces to create for demand rather than purpose. As referenced in the previous section, technology serves as the progression for human obsession, but when used unwisely, it actually results in human regression and conformity for all.

Wall-E the Individualist

However, just from the first glimpses of our lovable protagonist, one can already assume that Wall-E, a manufactured creation, has established an identity that distinguishes himself from his robot counterparts. As the audience is introduced to Wall-E’s humble abode, he first rewinds after a day’s long work by playing his VHS tape Hello Dolly (6:54), an old-time musical show

that reflects the glory days of humanity in the peak of consumer culture. And as this feel-good television plays in the background, Wall-E rides to the back of his closet to stow away objects he deems to be “interesting” with his collection of collectibles and trinkets (7:23). Although Wall-E’s main objective is to crush mankind’s trash into stackable squares, his experience in committing to this task all alone gives him the freedom to explore the remains of civilization and determine what gives himself gratification. After all, what robot routinely watches Hello Dolly on a daily basis? Only this Wall-E, unlike the thousands of others before. He finds pleasure in the most simple objects, which is the opposite of the consumer-driven society that pre-existed the downfall of civilization.

In fact, Wall-E’s infatuation with EVE is the prime example of his individualism without the expense of conformity and endless desire. After EVE lands on Earth, Wall-E immediately discovers the feeling of love and captivation for her presence, following her wherever he goes (19:49). After being virtually isolated from any interactions except for his cockroach companion, the introduction of EVE sparks a strong desire for Wall-E to be with her. And Wall-E’s love, an organic human feeling that is distinguishable from materialistic desires, shows that Wall-E finds solace in his simple emotional attachments, a prospect that confirms his control over his character and personality.

Curiosity, the Remedy of Consumerism

So, is there any possible cure for the Axiom’s diseased population? Well, Wall-E shows that there is a possible remedy to consumerist intentions and technologies: Curiosity. After the Captain triggers the ship’s computer to reveal information about soil, he discovers an explosive database filled with information about Earth, witnessing images of the land, the sea, farming, dancing, and many other human marvels. As the film continues, viewers continuously see the Captain obtain more and more information about life back at home, further fueling his own interest in Operation Recolonize. No longer chained to the artificial ideals of consumerism, the Captain soon comes to the conclusion that the Axiom must return back to the Earth in order to bring humanity back to what it once was. What is interesting to note is how before, the Captain lived “as routinely and mindlessly as anyone else on the ship,” but when he imagines “fulfillment greater than the Axiom” (Mattie 18), the Captain finds his own sense of liberation to combat the automated consumerist technology on the Axiom. Truly, greater meaning and interest can transcend materialistic and collective cultures, and it’s all spawned from the root of curiosity.

Even Wall-E himself embodies this idea near the end of the film. In the process of battling Auto and protecting the seedling, Wall-E is nearly crushed to death. EVE, desperate to save him, finds all of the mechanical parts to revive Wall-E, but fails to save his memory and sentience, making him just like the thousands of other Wall-Es out there. EVE tries to trigger Wall-E’s past memories by showing him his collectibles, but he instead takes all of the material, puts them inside himself, and ejects “a cube of impersonal garbage devoid of any emotional resonance for the robot” (Anderson 277). The absence of his identity is showcased “not only in his failure to recognize his friend EVE but also in his lost ability to experience an emotional—nostalgic—attachment to consumer goods” (277). After his programming wipeout, Wall-E has lost the core value that distinguished him from his other robot counterparts: Curiosity. No longer does Wall-E find interest in his Hello Dolly videotape and strings of overhead lights. All he cares about now is his directive to craft cubes of dispassionate trash for humanity, just what he was originally made for.

Fortunately, after multiple attempts, EVE was able to restore Wall-E from his dementia-like state back to his original self. Now, with his curiosity back in place, he is able to take full autonomy over his personality and selfhood. An organic human emotion, curiosity is what allows individuals to see past the piles of trash and consumer goods and establish their own identity against the general norm. As argued by McNaughtan himself, Wall-E is a “mass society critique conveyed through the conventional narrative of individual triumph (and the triumph of individualism)” (McNaughtan 755).

The Hope For Us

In Wall-E’s world, environmental deterioration runs rampant and autonomy is low, but just like every Pixar movie, human determination wins. Despite a structured society filled with materialistic consumers, Wall-E is able to spread the value of individuality and curiosity into the Axiom, which allows its inhabitants to see beyond the video screens and flying robochairs. And even when Wall-E struggles to preserve his own identity, his curiosity and attachments for his collectibles supersede his programmed state.

Now, the issue comes to us. We’re nowhere near what the Axiom is; we haven’t built thousands of robots to clean up our trash, we haven’t clogged the earth with heaps of trash, and we haven’t left the Earth in search for other life. But, this animated fantasy can certainly become a dystopic reality. The ice caps are melting. There are pollutants in the air. And although small now, trash is slowly piling up and transforming into the same trash-built skyscrapers in the film. However, as the next generation of aspiring entrepreneurs, politicians, and leaders, we have the potential to steer our vision of humanity away from a monstrosity like Buy-N-Large and the Axiom. And the answer perhaps lies in the same curiosity that Wall-E fostered for himself. When we’re curious, we seek new information, new opportunities, and new solutions. We strive to look beyond the world we live in and find ways to improve it. Curiosity, being a raw human emotion, gives us the potential to solve some of our world’s most threatening problems, just like what Wall-E was able to do for the Axiom and the people around him.

The question is, can we actually succeed?

Works Cited

Stanton, Andrew, et al. WALL-E. Walt Disney Studios Motion Pictures, 2008. Anderson, Christopher T. “Post-Apocalyptic Nostalgia: WALL-E, Garbage, and American Ambivalence toward Manufactured Goods.” Lit: Literature Interpretation Theory, Taylor & Francis, 28 Aug. 2012.

Mattie, Sean. “WALL · E on the Problem of Technology.” Perspectives on Political Science, Taylor & Francis, 8 Jan. 2014.

McNaughtan, Hugh. “Distinctive Consumption and Popular Anti-Consumerism: The Case of Wall*E.” Continuum, Taylor & Francis, 19 June 2012.