Subservience

The scouts

Bouchard wraps his Brechtian fury in puppets and calls it satire, which is exactly the kind of formally clever move that makes other scouts yawn—but the fact that he sustains a death-knell argument about class through marionettes for eight minutes straight without winking is genuinely bold.

This is Bouchard in direct conversation with a century of political puppet theater, from German Expressionism through contemporary animation—the theatrical staging within animation creates a deliberate distance that sharpens rather than softens the critique, a formal choice that proves its rigor through restraint.

The decision to let the puppets move with that particular stiffness—never quite fluid, never quite grotesque—transforms what could be didactic into something genuinely unsettling; it's the rhythm of the movement itself that does the political work.