that is killing him. He cannot read social cues; he rarely follows social protocol. His madness pushes him outside the social's rules as he uses snippets of the spectacle as a kind of weapon to break the machine of capitalist etiquette. His relentless madness disrupts the flow of business, of conversation, of everyday functioning. He knows no bourgeois propriety at all and he constantly, and unwittingly, throws people off kilter. His utter lack of self-awareness, his lack of an internal coherence, is the very thing that makes him dangerous. He is unruly through and through.

Bugs Bunny is a great figure of disruption and resistance, engineering lines of flight with ease. He refuses to let discourses stand, never playing the hunted when he's being hunted. Bugs plays mad butthe plot structure: Michael doesn't like to be productive. He disrupts everyone's work day at every point he can. He's not an anarchist; he's not trying to break any system. In fact, he thinks the spectacle, not capitalism, is the best thing in the world! And so the system — social and corporate — tolerates him. He speaks its language, only in a schizo tongue.

It may be, then, that the American Spectacle made Michael schizo. But his schizo-ness turns on its creator, creating the possibility of rupture — rupturing the structures of culture and business within the show as well as rupturing our experience as viewers. The daffiness can make the show difficult to watch. It's grating, as is Daffy Duck. But this mode of grating is precisely