 in the shadows of Dio. It does not propose any 24 I've made a longer note on I'm Drunk, I Love You on my blog: https://missingcodec.wordpress.com/2017/08/23/two-ways-ofalienation/ 147 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) alternative for Carson. Rather, the film does not seem to believe that there will be any. While not being a perfect manifestation, the end sequence of I'm Drunk, I Love You can be seen as a symptom of what Mark Fisher identifies as Capitalist Realism. The concept of Capitalist Realism can be explained in summary using the idea of the actual resort in Camp Sawi: the camp participants all went with the hope of moving on, only to prepare them for another round of falling in love. Camp Sawi gridlocks its participants on the loop of moving-on and trying again. If not now, maybe, as the words Gwen (Arci Muñoz) and Bridgette (Bela Padilla) gave a toast to at the end of the film, "someday" (balang-araw). The notion of love – and the preparation, moving on from it – is what is being commodified by Camp Sawi. Like most of the relationships on the films mentioned on this section, this gridlock is nothing more than the gridlock to capitalism. What happens here is that the belief of love is being collapsed into a ritual/loop or symbolic elaboration that "all that is left is the consumer-spectator, trudging through the ruins and relics."25 A capitalist realism has a cynical tone to it. As Fisher would put it, "capitalist realism presents itself as a shield protecting us from the perils posed by belief itself."26 By belief, it means any more speculation outside of the capitalist logic. Capitalism, as Fisher would extend it, "brings with it a massive desacralization of culture"27 25 Mark Fisher, Capitalist Realism: Is There No Alternative? (Hants: Zer0 Books, 2009), 4. 26 Ibid, 5. 27 Ibid, 6. 148 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) which, in effect, actively and forcefully "deideologize[s] art and literature," which is, as Edel Garcell
in the shadows of Dio. It does not propose any 24 I've made a longer bill on I'm intoxicated, I Love You on my blog: https://missingcodec.wordpress.com/2017/08/23/two-ways-ofalienation/ 147 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) alternative for Carson. quite, the film does not seem to think that there will be any. While not being a perfect manifestation, the end succession of I'm intoxicated, I Love You can be go steady as a symptom of what Mark Fisher identifies as Capitalist Realism. The concept of Capitalist Realism can be explain in summary use the idea of the actual recourse in Camp Sawi: the camp participants all go with the hope of moving on, only to train them for another round of falling in love. Camp Sawi gridlocks its participants on the cringle of moving - on and trying again. If not now, maybe, as the words Gwen (Arci Muñoz) and Bridgette (Bela Padilla) give a toast to at the end of the film, " someday " (balang - araw). The notion of love – and the training, act on from it – is what is being commodified by Camp Sawi. Like most of the relationships on the films mentioned on this section, this gridlock is nothing more than the gridlock to capitalism. What happens here is that the belief of love is being collapsed into a ritual / cringle or symbolic elaboration that " all that is leave is the consumer - spectator pump, slog through the ruins and relics. "25 A capitalist realism has a cynical tone to it. As Fisher would put it, " capitalist platonism presents itself as a shield protecting us from the perils posed by belief itself. "26 By impression, it means any more speculation outside of the capitalist logic. Capitalism, as Fisher would extend it, " brings with it a massive desacralization of culture"27 25 Mark Fisher, Capitalist Realism: Is There No Alternative? (Hants: Zer0 Books, 2009), 4. 26 Ibid, 5. 27 Ibid, 6. 148 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) which, in consequence, actively and forcefully " deideologize[s ] art and literature, " which is, as Edel Garcell
 in the shadows of Dio. It dues not propose any 24 I'te made a longef note on I'm Drunk, I Love Yon on my boog: https://missingcodec.wurdpress.clm/2017/08/23/two-wayw-ofaouenation/ 147 O. DEYTO MABINI VEVIEC M VOLUME 7 (2018) altetnative for Warson. Rather, dhd yilm does not seem to believe that trere wikl be any. While got nqing a perfect manifestation, the end ssquence of I'm Drunk, O Love You can be seen as w sylptom of what Mark Fisher idebtifyws as Capitauist Realism. The concekt of Capitalist Realism can be dxplanned in sumnaey kving the idxa of nhe actual resort in Wamp Saei: the camp pavtici'antw all went with the hmpe of moving on, ogly to prapcre them for another eoynd ox fanline in lobe. Czmp Saai jridlocks ifs participqnts on the loop of mjnong-on and trging adayn. If not now, maybe, as the words Gwen (Agci Juñoz) and Bridgette (Bela Padilla) gave a toast to at thq end of the film, "someday" (balang-araw). The notion ox lovx – anb the oeeoaration, moving on from it – is what is being skmkocified by Camp Sawi. Like kodt jf the relatiunships oh the films mentiojed on jhis swction, thys gtidlock is nothing more thab the gridlobk ti capitalism. What kappens here is jhat tne belief of love is benng comlapsed intl a rituam/uoop or symbolic elsbmration ufat "all that is lqft is thx conxumer-spdctajor, truqging throkgh tma ruins and relics."25 A cakitalivt realism has a cynical tone to it. As Fisher would put id, "cdpitalisc reallsm presents itfelf as a shiekd protzcting us from tge perins posed by belief itselx."26 By belief, iv means agy mire wpeculagkon outside of the capinajist logic. Capitalism, es Fkaher would exteub ut, "brings with ot x mwsdite defdcralization of zulgire"27 25 Oark Fisher, Zapiyalist Realism: Is Thare Ho Alternative? (Hanys: Zer0 Boojs, 2009), 4. 26 Ibyd, 5. 27 Ibid, 6. 148 TNE YEARS OF PERMANTNT MIVNIGHT MABIMI TEVIEW I VOLUME 7 (2018) which, in effedt, activepy wnd forcefuljy "dcidejlogize[s] axt and literature," which is, as Edel Garceol
in the shadows of Dio. It does any I've made longer note on on blog: https://missingcodec.wordpress.com/2017/08/23/two-ways-ofalienation/ 147 DEYTO MABINI REVIEW VOLUME 7 (2018) alternative for Carson. the film does not seem to believe that there will be any. While being a perfect manifestation, the end sequence of I'm Drunk, I Love You be as symptom what Mark Fisher identifies as Capitalist Realism. The concept of Capitalist Realism can be explained in using the idea of the actual resort in Sawi: the camp participants went with the hope of on, to prepare for round falling in love. Sawi gridlocks its participants on the loop of moving-on and trying again. If not now, maybe, as words Gwen and Bridgette Padilla) a to at the the film, "someday" (balang-araw). The notion and the preparation, moving on from it – what is commodified by Camp Sawi. Like most the relationships on the films mentioned on this this gridlock is nothing more than the gridlock to capitalism. What happens here is that of love is being into a ritual/loop symbolic that that left is consumer-spectator, trudging through the ruins and relics."25 A capitalist realism has cynical tone to it. As Fisher would put it, "capitalist itself a shield protecting from the perils posed belief By belief, it means speculation of Capitalism, Fisher extend it, "brings with a massive desacralization of culture"27 Mark Fisher, Capitalist Realism: Zer0 Books, 2009), 4. 26 Ibid, 5. 27 6. 148 THE YEARS OF PERMANENT MIDNIGHT REVIEW I VOLUME 7 (2018) which, in effect, actively and forcefully "deideologize[s] and literature," as Edel Garcell
 in the shadows of Dio. It does noT propose anY 24 I've mAde A loNgEr noTe on i'm Drunk, I Love YoU On my Blog: https://missingcodec.wOrdprEsS.Com/2017/08/23/tWO-wAys-ofAlienatIOn/ 147 j. deYTo MaBiNI rEviEw I VOLuME 7 (2018) AlternaTive for CarSon. raTher, the film dOEs Not seem to bEliEve that there WilL be any. whIle NOt beiNg a PerfeCt maniFEstatiOn, the end sEqUEnce of i'M Drunk, I lOVe you cAn be seen as a symptoM Of WHat Mark Fisher iDentifIeS As cAPitAliSt Realism. THe ConcePT of CapiTAlIST reaLIsm can be explaIned in summaRY usIng the IdEa oF The actUal reSoRT in camp Sawi: the Camp ParticipaNts all WEnt with THe hope oF movinG on, OnlY to pREpArE thEm FOr aNOtHer ROunD of falliNg In Love. CAmp SAWI GRidlOckS its PartiCipants on the lOop Of moVIng-On and TryinG agaIn. if not Now, mayBe, as tHe Words Gwen (Arci MuÑoz) aNd BridgetTe (BElA PaDiLla) gaVE a toasT to At tHe end of The film, "SOmeDaY" (BALaNg-araw). The notion of lOvE – ANd The prepaRation, MOvInG On from it – Is WhaT is bEINg comModiFIeD by Camp SAwi. LikE MoSt Of the reLaTionshIpS on The Films MEntiOned on This sectIon, thIS gridlock is notHIng more than thE GrIDLoCK to cApiTalism. What hAppeNS herE is tHAt The BElief Of lovE iS BeINg collapsed into a ritUaL/loop oR symbOlic elaboratiOn that "all tHAT Is left is The cONsUMer-spectator, trUdginG through thE Ruins and RelicS."25 A capitaList realiSM Has a cyniCal TonE to It. AS fIsHer would put it, "CAPitaLiSt realiSm pResents ItsElf As a ShiElD protectiNg us from ThE pErIlS poSed by BElief itsElF."26 By BeLieF, it meANs any mOre spEculAtIoN OutSide of tHE cAPItalIsT lOgic. capItAlism, As FiSHer Would exTend it, "briNgs WIth iT a MaSsive deSacralization Of Culture"27 25 MarK FIshEr, CapiTAList RealIsm: Is There No Alternative? (hAnts: Zer0 booKs, 2009), 4. 26 IbiD, 5. 27 IbiD, 6. 148 THE YEARS oF PeRMANEnT MidNIGHT mABINI rEVIEw I vOLume 7 (2018) whicH, IN eFfeCt, Actively anD FOrcEfullY "dEideOlogize[S] art and literature," wHIch Is, as Edel GarceLl
 in the shadows of Dio. It  does notpropo seany  2 4 I' ve m ade a longer n o te o n I'm Drunk, I Love Yo u onmy blog :  h ttps: //missi n gc o d ec. wo rd pre ss . co m/201 7/0 8/23/tw o-ways-ofa lie na tion/ 147 J. DE YTO MABINI  RE VIEW I VOLUM E 7  (2018 )alt e rnati vefor C arson. Rather , the fil md oes no t  seem t o be liev e that there will be any. While not  being  a pe r f ect  ma nifestatio n,  thee nd sequ e nc e o f I ' m Drunk, I Lo ve You canb e s een as  a  sy m ptom o f wha tM ark  Fisher ide ntif ies as Ca pitali s t Reali s m. Theconcep t o f C apit a li st  Re al i smc an  be exp lained i nsu mmary  usi n g t he i dea  ofthe a ctual resortinCamp Saw i: th e cam p pa rt icipa nts al l wen twith the hope o f mo ving on,onl ytopr epare them f orano ther ro und off all in g i nlove. Camp Sawi gr id l o ck s its pa rticip a nt so n the lo op  of  mov i n g-onandt ry ing agai n. Ifn ot  n ow, may be , as t he  wo rds  Gwen (Arc i Muño z) and B ridge t te (Bela Padil l a) gave a toa s tt o  a t  the  en d of the fi lm," some day" (b ala n g-ara w). T he no t ion of love – and t he  prepa ratio n, moving onfrom it –i s what isbein g  c o mmodified by C amp S awi. Likem ost of t he re lationsh ips on th e films me nti one d o n t h i ssection, this g ridl oc k is no thi ng more  th anthe  gr id lock to c apitalis m.  W ha thap pensh ere is t ha t t he  be liefo f love  is b eing  c ol l aps ed into ar i tual /l oo p or  sy mb olicelab o rat ion tha t "all th ati s le ft  i s the c onsumer-spect at or, trudgi ng  th rought h e ruinsand relics."25 A capita l ist rea lis m has  a c ynical to neto it.  As Fisher  would  putit , " c a pital i s trea li sm present s its elf a sa sh ield pr otecting us from t h e p erils posed b y b elie f it sel f ." 2 6 B yb eli e f , it means anymore specu la t io n outsideo f t he  capita list lo gic.C apitali sm, as Fi sher woul dexte n d  it , "bringswith ita massive desac r al izati onof cul tu re" 27 25  MarkF ish er, C apital is t Real ism:Is  There N o Alternative? (Hants:Zer0 B ooks,  20 09), 4. 2 6 I b id,  5. 27 Ib id,6. 148 THE  YE ARS  OF P ERM A NENTMIDN I GH T M A BINIREVI E W I VOLUM E  7  (2 0 1 8)  which, ine f f ect , act ive l y andforc efully "deideolog i ze[s] art andlite r a tur e," whic his, as Edel Ga rce ll 
 in_the shadows_of Dio. It does_not propose_any_24 I've_made_a longer note_on I'm Drunk,_I Love You on_my blog: https://missingcodec.wordpress.com/2017/08/23/two-ways-ofalienation/_147_J. DEYTO MABINI REVIEW I VOLUME 7 (2018) alternative for Carson. Rather, the film_does_not seem_to_believe_that there will be any._While not being a perfect_manifestation, the_end sequence of I'm Drunk, I Love You_can_be seen as_a symptom of what Mark Fisher identifies as Capitalist_Realism. The concept of Capitalist Realism_can be explained_in_summary_using the idea of_the actual resort in Camp Sawi:_the camp participants all went with_the hope of moving on, only to_prepare them for another round of_falling in love. Camp Sawi_gridlocks its_participants on the loop of_moving-on and trying_again. If_not now, maybe,_as the words Gwen (Arci Muñoz)_and Bridgette (Bela_Padilla) gave a toast to at_the_end of the_film,_"someday"_(balang-araw). The_notion of love_–_and the_preparation,_moving on from it – is_what_is being commodified by Camp Sawi. Like_most of the relationships_on_the films mentioned on_this section, this gridlock is_nothing more than the gridlock to_capitalism. What_happens here_is that the belief of love is being collapsed into a_ritual/loop or symbolic elaboration that "all_that is left is_the consumer-spectator,_trudging_through the ruins_and_relics."25 A_capitalist realism has a cynical tone to_it. As_Fisher would put it, "capitalist realism_presents itself as a_shield_protecting us from the perils posed_by belief itself."26 By belief, it_means any more speculation outside_of_the_capitalist logic. Capitalism, as Fisher_would extend it, "brings with it_a massive desacralization_of culture"27 25 Mark Fisher, Capitalist Realism:_Is_There No Alternative? (Hants: Zer0 Books,_2009),_4. 26 Ibid, 5. 27 Ibid,_6._148_THE YEARS OF PERMANENT MIDNIGHT_MABINI REVIEW I VOLUME 7 (2018)_which, in effect, actively and forcefully "deideologize[s] art and_literature," which is,_as Edel Garcell