PREFACE TO THE INDEX OF LUV
The live action Jem movie is being released today, with a cast that includes Molly Ringwald and Juliette Lewis. It’s based on the 1980’s cartoon series Jem and the Holograms (now streaming on Netflix), which was created by Hasbro to sell a line of dolls. The movie targets the nostalgia of Gen-Xers like myself and has sought to create a legitimate new version of the story with a lineup of reputable actors. As a longtime fan of the show, I am, of course, cranky about this. I’ve been rewatching the cartoon series in an attempt to catalogue and archive those elements that are most important to understanding holographic feminism. These archives make up The League for Holographic Music, a set of paratexts affiliated with the post-internet life of the cartoon show. The movie will reinscribe outdated modes of feminism, working against the League’s grassroots efforts to catalyze a holographic feminist movement.
The premise of the cartoon series concerns Jerrica Benton and her alter ego, Jem, a pop rock star who inherits a holographic computer, Synergy, after her father passes away. Jem and her band the Holograms have many adventures revolving around giving concerts, making movies and record albums, publishing fashion books, and many other artistic endeavors. They are constantly pitted against rival band The Misfits and their manager, Eric Raymond, whose dubious business practices jeopardize the health, sanity, and safety of Jem and the Holograms and the residents of the Starlight House, a halfway house for foster children run by Jerrica Benton.
The bottom line of this four-part Entropy series, Jem and the Holographic Feminisms: if you want to see a really well-done, progressive remake of the show Jem and the Holograms don’t go see the movie; go buy the comic written by Kelly Thompson with art by Sophie Campbell and others, published by IDW. It is lovely. It fleshes out the characters in ways that enhance and adhere to the original plot lines and themes.
Many fans are critical of the upcoming movie’s trailer, pointing out that director Jon M. Chu and producers Jason Blum and Scooter Braun don’t follow the original storyline in any fashion. However, it will probably appeal to a mainstream audience that has some vague memory of the show and even more specific nostalgia for Ringwald and Lewis.
If you don’t want to watch all three seasons of the original show but are interested enough to watch a few, try The Beginning, the three part Starbright episodes, The Bands Break Up, Out of the Past, or The Day the Music Died.
This final installment of Jem and the Holographic Feminisms is an index of luv written by the people who responded to the very long pop quiz/survey featured in the of third installment this essay. I decided the last one should be an index with questions and phrases sourced from a wide a range of audiences, in order to capitalize on the crowd source methods of composition used by fan fiction and art. It also seemed to be a way to undercut the singular impulse of the archive and attempt to insert a more democratic process into the more hierarchical system. The index features reader responses from that survey, and the Prezi’s that accompany each section here provide further clips, images, and language pulled directly from it. The numbers listed in each index heading correspond with relevant episode numbers as they are listed on the Rock Jem episode guide.
The survey responses were luscious and vigorous. They opened many possibilities in the compiling process. I looked for trends, motifs, and repeated ideas. I also looked for comments that were outliers, that seemed to interact with the form of the pop quiz/survey more than the content of the questions themselves. I considered arranging responses alphabetically, like a true index, or organized by the question asked, but ultimately opted for a more elliptical, intuitive arrangement. Unfortunately, I wasn’t able to include all the wonderful responses here; however, I will continue to feature language from this quiz/survey on the League for Holographic Music’s tumblr in coming weeks.
INDEX OF LUV
Lots of women in an all-women triathlon, on a computer-generated background, with sangria, mimosas and aging cream samplers at the finish line. 8/19/2015 9:31 PM …..34, 2, 34, 1
Alright, if I say so myself. 9/19/2015 1:10 PM…..1, 2, 55, 60
My first essay included this definition of holographic motherhood:
Holographic Motherhood is what sometimes gets created in the transaction between the reader and the text. This transaction between reader and text is what creates a third dimension—the place where holographic motherhood can exist. (This transactional reading theory is an idea I co-opted from Louise Rosenblatt’s The Reader, The Text, The Poem. Roland Barthes refers to this same phenomenon as the “blind field” in Camera Lucida.)
Holographic motherhood is also what happens when the child embodies the parent and as a result, projects some three-dimensional image (sound, visual) that completes the unspoken pact between child and parent. The pact that historically places them at odds.
I started out to write this linked sequence in order to describe and document my experience rewatching this show with my teen stepdaughter. Ultimately, I could not write about my stepdaughter and our interactions in detail. In part, this is because of the dynamics between stepparents and stepchildren, and in part, determined by the contract every parent keeps with their children. I can’t write about her so she can be her own person. I suspect there are many parents that occupy this same silent space. (The memoirs of children with bad or eccentric mothers and fathers abound. The memoirs of parenthood are curiously vague, humorous, or how-to-ish.)
I think to myself it will be easier to write about my biological daughter, that I have more permission in that sphere. I plan to make her smart enough to understand. I plan. I plan. I plan. I cannot make anyone, let alone a hologram.
on the rise 9/19/2015 1:10 PM…..8
like lightning 8/24/2015 7:21 PM…..20
novel, 8/24/2015 11:53 AM…..2
gold, 8/22/2015 3:27 PM…..26
sassy 8/21/2015 2:04 PM…..28
a lightning bolt to the face; 8/19/2015 9:31 PM……38
here with us, 8/19/2015 2:03 PM…..19
a window in time and space, a venue for a voice; 8/19/2015 10:03…..11, 52
A Man illusion; 8/18/2015 11:28 PM…..16
Pastels, 8/18/2015 9:30 PM…..16
THE BEST THING EVERRRRRRRRRRRRRRRRRRR, 8/18/2015 2:01 PM…..32
an afrodastic carwash!! for your pet stegasaurus!! 8/19/2015 9:53 AM…..18
a reality that looks false, 8/18/2015 1:35 PM…..33
truly outrageous, 8/18/2015 12:49 PM…..9
coolio, 8/18/2015 12:22 PM…..52
Derrida reminds us that the question ‘what is being’ is related to the question ‘what is love?’
“Is ‘being’ someone or something?”
“Does one love someone because they are a singular person, or does one love that person’s qualities (beauty, intelligence)?”
These are questions that Jerrica/Jem wrestles with in order to fully come to adulthood. Physical attraction is clean, colorful, outlined in black and white terms. The kiss is the climax and it happens very quickly, briefly, and with swoops, heavy tongue, and deep passion. The soul or the heart is routinely arrived at through the mouth. Consciousness is described as consumption. The body is a place where the external and internal self share of each other and on occasion act as one entity. Jem and the Holograms emphasizes that love is illusive, that love comes in many forms, that there is sadness in love, that love is a subplot, that the ones we love the most can’t always be embodied in physical forms, and at the same time, can embody many different physical forms.
“…fidelity is threatened by the difference between the who and the what. One wants to be true to someone singularly, irreplaceably and one perceives that this person isn’t x or y. They didn’t have the qualities, properties, images that I thought I’d loved.”
On Jem and the Holograms, when someone’s honesty and integrity fails, all of their personality traits are interrogated. Ultimately, Jerrica/Jem must fail to be two different people in order to advance her own romantic interests.
On the show, men are attracted by girls who have integrity and are honest. Girls who are pretty and famous. Girls who have a reputation that precedes them. Girls who like to do stuff like run, drive in cars, eat at restaurants, compete and win. Girls who do their best and play fair and work hard.
Girls who earn what they deserve.
Fathers’ Absence…..8, 23, 24, 40, 55, 65, 66
Black widows nested inside my daughter’s drum set. 9/19/2015 1:10 PM …..30, 31 54
In the late 1980s, my sister had a friend who was a drummer and who had lost a leg in a train accident. 8/24/2015 7:21 PM…..30, 31, 54
Kimber Stereogram…..10, 18, 19, 28, 34, 40, 56, 57
I once owned an orchid. Humid, cramped, odorous. 8/24/2015 11:53 AM…..30
Orchids: no. 8/19/2015 9:31 PM…..33
Adoption pretenses: I just wanted to belong to a different family. I put pictures into my locket because they fit (physically), not because their subjects were special to me. The idea of a locket was a lot cooler than the locket I had. 8/19/2015 10:03 AM…..1, 2, 32, 40, 49, 55, 66
Jemstar Surveillance…..4, 5, 29, 36, 60
I have stood on the Great Wall and taken pictures of boys I never touched. I oversaw them. 8/19/2015 9:31 PM…..5
Overhearing others is the ultimate distraction. Easily curable with earbuds. 9/19/2015 1:10 PM…..64
I overshare all the time. 8/19/2015 2:03 PM…..35
While holographic walls, buildings, and people often provide protection and distraction, characters also walk and drive through walls; they extend their bodies and access information that helps them to form opinions about others and measure their own actions against those around them. Typical membranes might be a movie camera or a doorframe or the Jemstar earrings. Holograms of walls also distract, distance, and protect others, especially Jerrica Benton’s virginity. Jerrica’s father, Emmett Benton, created Synergy to be a “capacity mother, teacher, guide, and friend” with the knowledge that he was dying from some unexplained disease. His intent to leave behind someone to safeguard his daughters, coupled with the fact that he asks the girls to keep Synergy a secret, creates a sort of chastity pledge that Jerrica/Jem must keep. The Holograms’ modern rock n’ roll lifestyle that includes sexy clothes, cars, and dates with men is always overseen by Synergy and the pure-of-heart Jerrica. The secret keeping and the leadership role she plays in the band, and in her family, places her in circumstances where she must stay true to her family, even when it comes at the expense of getting to share her true self with Rio.
A wall is a structure that sets people apart, but that boundary is known only by the place in the wall that defeats its intent. At the same time, the wall reaffirms it, providing delectable partial junction between ill-fated lovers. (Think Shakespeare’s A Midsummer Night’s Dream). A hologram’s rupture or hole is its glittery surface; as it absorbs and creates the body’s prosthesis it also lacks firm and stable surface to fuse with the body, and is easily penetrable with vision or other body parts.
The Jemstar earrings, the remote microprocessors that allow Synergy to project her holograms wherever Jerrica/Jem may need, allow Jerrica to access pleasure—they are a symbol for her clitoris. Each time she says “Showtime Synergy” she is accessing a more erotic, sexier self. She uses the sexual power she derives from Synergy to produce disguises and distractions which sometimes include mirages (such as a snake to keep her possessions from being stolen, or an extra copy of herself for a villain to chase while she gets away). This allows her to relax, knowing that her sexual self is somewhat hidden from those with authority or power but still allowing her to access it. Jem is the more open, fun-loving identity and can seek, get, and express the love she wants without fear when she plays music.
The Jemstar earrings are also a deterrent to having sex. Jerrica’s promise to Synergy not to reveal her secret identity (Jem) effectively arrests the development of her relationship with Rio, and is a chastity promise more than a national security threat, as Synergy suggests. In the first episode, when Synergy reveals herself to Jerrica and her sisters, she states the reason they can never tell anyone about her is that her technology is too powerful and could be used by people to do harm. In a later episode, Synergy is transported to the Kennedy Center in Washington D.C. where Jem and the Holograms will be performing for the President of the United States, but she is somehow intercepted by the FBI and taken apart. Jem is able to rescue Synergy and the POTUS, who ends up getting kidnapped with her. On their way back to the White House, Jem reveals who Synergy is. Surprisingly, Synergy is not confiscated for use by the government. The POTUS keeps his promise to Jem not to tell anyone about her.
Since Jem/Jerrica is so busy switching back and forth between her identities there is little time for sex to happen. Furthermore, once Rio and Jem begin to explore their attraction to each other in later episodes, Jerrica/Jem is placed in a double-bind where she feels she is lying to Rio about who she really is. Add to this the fact that the Jemstar earrings are also listening devices allowing Synergy to easily know what Jerrica/Jem is doing, and that Synergy is basically a version of her dead mother, and it makes for really impossible circumstances.
Jem’s only option for having sex with Rio, it seems, if she’s looking to avoid disciplinary surveillance from Synergy, is to take off her Jemstars and “make love” as Jerrica, thereby abandoning her concept of herself completely. This also solves a problem for her: no need to decide whether having sex with her boyfriend will damage her integrity.
Embodied acts of looking and listening, as they are centered on holograms, are not distant, restrictive, and sublime but rather imminent, specific, and palpable. They affect the observer and the observed. While the traditional mechanical entrance through which voyeurism and surveillance happens quite frequently in eighteenth-century Victorian literature is absent in the show, like the Victorian keyhole, holograms are still an optical accessory that provide frame and scaffold for a scene and separate it from an omniscience; in this way the hologram can be understood as a type of disciplinary surveillance.
Subtext: Our daughter’s virginity should be guarded like a national security secret.
Acoustic Hologram…..1, 3, 4, 5, 5
The noise of thunder becomes subordinate. 8/19/2015 9:31 PM…..2
When will now be your chance? 9/19/2015 1:10 PM…..13,14
Did you listen your way in with your mouth? 8/22/2015 3:27 PM…..4, 5, 56, 57
holographic computers 9/19/2015 1:10 PM…..8, 29, 55
indie 500 cars 8/21/2015 2:04 PM…..22
kitchen sinks 8/19/2015 9:53 AM…..1
vacuum cleaners 8/22/2015 3:27 PM…..1
love life 8/18/2015 12:49 PM…..6, 56, 57
Yes, Aja & me stole some scrap two by four from our supervisor and took it there to build a busking stage for our clarinet show. 8/19/2015 10:03 AM …..1, 33,34
Corporate Hologram…..3, 4, 5, 7, 7
The action that precedes any adjustable antihalation art. 8/24/2015 11:53 AM…..25, 56, 57
It looks like Eric has once again done something stupid. Yes, also, Eric Raymond gets confused by a hot dog. 8/19/2015 10:03 AM…..2, 4, 5
An allusion to some form of cannibalism. 9/19/2015 1:10 PM…..3, 2, 6, 7
Female Rivalry…..19, 37, 45, 48, 50, 53, 60
Once on a magic carpet ride, gliding through Nirvana after it all, I looked over the edge and saw the Wall stretching on forever in the middle of nowhere leading nowhere and lay back on the carpet to ponder the effort of it all. 8/22/2015 3:27 PM…..16
Stage fright: a regular occurrence. 8/18/2015 12:49 PM…..5
In “The Bands Break Up,” both the Holograms and the Misfits don’t fully appreciate Kimber (Hologram) and Stormer’s (Misfit) contributions. Both girls are lyricists and songwriters for their respective bands but they are creatively frustrated. They have ideas for particular songs they’d like to do, but Jem and Pizzazz dismiss them. They begin playing and writing music together when they are recognized at a club and called to the stage to perform right after the Limp Lizards.
The IDW comic book series took this episode as an opportunity to deepen the storyline, casting Kimber and Stormer as two out lesbians who embark on a passionate relationship together despite the rivalry between the two groups. The inspiration to do this may have come from Jem fans that have long depicted the two together in artwork and in writing. The decision to do this fits with the original imagery from the show and the fans’ interests and imagination, not to mention being a great way to incorporate different models of romantic love.
This episode ranks as my favorite because I yearn so deeply for displays of positive female friendship. For a single episode in the entire three-season show, this female friendship dissolves a small part of the female rivalry between the bands that is incessant, and is a rare example of female friendship that does not revolve around men. It is the most progressive instance of feminism in the entire show.
The Holograms and the Misfits are uncomfortable with Kimber and Stormer’s friendship. Shana and Aja’s comments on Kimber’s physical appearance after she begins hanging out with Stormer are particularly salient:
Aja: “Look at the make-up on Kimber. Yuck!”
Shana: “Looks like Stormer has been a bad influence on her.”
Both bands set out to sabotage the Stormer/Kimber duo that forms after this live performance with not much reason for their actions other than the comments made by Aja and Shana. Kimber does stay away from home a lot more and get defensive and snappy towards Jerrica when she’s questioned, but honestly, she does that a lot. On the Misfits side of things, Pizzaz realizes that they really do need Stormer in order for the band to work. Her decision to court Stormer to come back is a business one. In the end, Stormer, who makes friends briefly with all the Holograms, decides to go back to the Misfits because she’s “needed.” She knows she’s not treated right by Pizzaz and Roxy. Both groups’ single-minded efforts make it possible to reincorporate this small display of difference—the implied lesbian relationship—back into mainstream norms by the episode’s end. In subsequent episodes, Kimber goes on to date many men and even almost marries one of them, but decides not to when she realizes she just wants an excuse for a fancy dress and party.
Despite this disappointing-yet-expected conclusion, I’m skeptical about whether Stormer and Kimber could have really made it as a duo. While they aren’t outrightly depicted as less intelligent than the other band members, they do lack business sense. They are the dreamers, the creative energy of their respective groups, and prefer to focus on the music and lyrics. This costs them when they accidentally sign a bad contract with Eric Raymond for their first album. This thin plot line is characteristic of the show, which routinely features storylines that contain lots of gaps, and unexplained, unbelievable elements.
Stormer has the potential to be the most empowered person on the show, but she’s often depicted as suffering from low self esteem and as having a martyr complex. In this episode, she is true to herself and her friends old and new. She’s not below taking monetary bribes from the Misfits when they ask her to come back to the band, but she also follows through on the collaboration project and finishes an album with Kimber so that Kimber doesn’t lose her half of Starlight Music (which she agreed to in that bad contract). Stormer’s potential to be a bridge between both groups isn’t explored enough on the show.
Virginity Obsession…..1,18,19,20, 36, 39, 53, 61, 64
What? Seriously? 8/19/2015 7:50 PM…..3, 4, 5
Who Is He Kissing? ME OF COURSE! 8/19/2015 9:31PM…..6
Kimber and Jerrica/Jem are kidnapped quite frequently on the show. This is code for rape, and supports the idea that women should not find sexual pleasure without being forced into it, thereby keeping their virginity in tact. In “Hot Time in Hawaii,” Kimber ends up getting kidnapped by one of the Misfits’ goons, Zipper. He takes her to a cave right as a volcano starts to explode, and dripping, gooey hot lava goes everywhere. In the next episode, “The Princess and the Singer,” Kimber is accidentally kidnapped because she is the doppelganger of the Princess of Morvania, who is about to turn 18 and assume the throne. A subversive faction is trying to overthrow her government, and Kimber gets mixed-up in the coup.
In “The Fan,” Jem is kidnapped by a stalker fan that forges an alliance with the Misfits in order to discover her true identity. He fronts the money for an elaborate stage and actors to pose as Jem’s family at Starlight Mansion. The actors play heavy head games with Jem in hopes that she will reveal that she is Jerrica Benton, while the fan and the Misfits hide away in a control room and watch the action unfold. Instead of revealing her secret, Jem gets exhausted and confused, cries a lot, and thrashes around on a big king-size bed, fully clothed, but yes, wearing a bustier. Jem’s kidnapping totally disorients her, like a date rape drug, but the disorientation is blamed on her inability to suss out the ruse, or just her personal weakness, rather than being a victim of a very screwed-up crime. Living inside her fan’s fantasy, in a world that resembles hers but in which key details are missing, Jem’s Jemstars are at least able to alert Synergy to the problem. Synergy is then able to alert the Holograms to her location before Jem reveals her secret. She is rescued by the Holograms and forgives her attacker when he decides to donate a lot of money to one of her charities.
Just add a letter t to the name Rio and you get Riot, lead singer of the Stingers. His band is introduced in Season 2, and rivals both the Holograms and the Misfits. Jerrica Benton tries early on to sign the Stingers to her label, but in the end they go with Eric Raymond’s label, Misfit Records. Riot is portrayed as a “smooth operator” who believes he and Jem are destined to be together. Unlike Rio, he pays no attention to Jerrica. In the episode “The Day the Music Died,” Riot addresses the camera directly and says: “I had to lay it on pretty thick in the beginning, but in the end, I got what I wanted.” Again, Jem has been kidnapped (she gets on the boat somewhat willingly, though it is intimated she’s ‘under his spell’), but once she realizes it she just keeps lying in the hammock on the desert island. What’s up with her Jemstars here? Short circuit? Synergy is nowhere to be found and Jem stays missing for months. Though the Holograms know why Jerrica is gone in addition to Jem, it doesn’t seem to worry Rio, who wouldn’t necessarily correlate the two disappearances.
This episode is the darkest episode of the series. It’s the one in which we see all the Holograms struggling to cope with their circumstances, with little hope for their own music or Jem’s safe return; this is antithetical to the “I’m busy being anyone I want to be” and the “make your dreams come true” philosophy that permeates the rest of the show and comes off as so saccharine it’s funny. I wish the girls weren’t portrayed in these circumstances at all (hello comic, hello movie, opportunity knocks…), and while these moments make the show unwatchable at times, they provided some rare teachable moments with my step-daughter.
golden 8/19/2015 7:50 PM…..26
oily 8/19/2015 9:31PM…..58, 59
bewildered, no longer hungry 8/18/2015 12:49 PM…..16, 39, 65
outrageous 9/19/2015 1:10 PM…..1, 16, 46
What has happened in our culture since the Cat in the Hat, whose mischief making, intended to save the children from their boredom, is ultimately unwanted by the very children he is meant to entertain? In this story, only a leg of the mother is shown in the frame of the window the children look out. Her empty dress hanging on a hanger marks her absence during the height of chaos. This story of the empty dress hanging on a hanger has shifted to children embodying the mother through the clothing they wear—in the case of Jem and the Holograms, Jerrica/Jem’s Jemstar earrings. In the case of the 2015 fourteen-year-old, that’s the smartphone. Our children are never alone, even when they are, yet instead of stabilizing or increasing their physical independence the phone has shrunk it. The story of Jem and the Holograms, and stories like it, constitute a multifaceted arrangement of symbolic and physical broadcasts through which “life,” “nature,” “human,” and therefore “parenthood,” are being altered.
We encourage each other to protect our children from danger, but how do we encourage ourselves, as caregivers and community, to encourage the independence of children? And, how much does it matter? We’ve been teaching women to protect themselves, rather than men not to rape. We’ve been teaching boys to stuff their emotions and girls to care give. We’ve been offering our own bodies up to our progeny swiftly and with little regard for their own. We have scheduled ourselves into oblivion so well that sometimes I feel the most ambitious, dutiful thing one can do as a parent is do nothing.
The 1980’s Jem and the Holograms spoke to our cell phone future, where all of our children would have their own Jemstar earrings and conjure a world for themselves that could then be surveilled by their parents—to a degree.
The window out of which the boy and girl in The Cat in the Hat stare is the television. It is the square frame placed over a landscape of squares, subdividing their boredom by the minute. But what their boredom invents is the Cat in the Hat himself, an incarnation of the id. Parents and adults recognize it as the power of the imagination, which needs space and time and boredom to manifest. The super-ego (goldfish) and the ego (Sally and unnamed boy) shuffle the Cat in the Hat out of the house before the mother returns—there is no need for surveillance because the human personality self regulates. The mother never sees the cat or even evidence that he was there. The children even question if they should tell her what happened.
Synergy is woefully underutilized in the show because Jerrica/Jem wants to do it herself. She doesn’t want a free ride, or to be entertained endlessly. She just wants a level playing field. Yet, it comes in the form of her parents smoothing the rocky road that lay ahead of her, signaling the child and the parent are no longer at odds with each other. The narrative has shifted. They are co-conspirators, collaborators.
Perhaps it’s not so much that children lack independence than it is that independence looks different with technology. Boredom still exists and it has a more disturbing, pernicious presence in the light of the smartphone. Parents scarcely know how to navigate the technology terrain with their children. There is lots of advice, which seems to me a marker of some sort of unknowing. Yet, Gen Xers were once children who were raised on television (weren’t we?) who are now raising children raised on _____________. (Fill in the blank. There are so many options.) Television is an old technology, though I would argue not outdated. One that promised to make us all stupid, one that only now seems to be gaining recognition as a platform for some incredible art.
A hologram is a break in common measures, the pixel piled together like ants in a rainstorm. Will we treat it as parasite? What does it mean to offer our bodies up as hosts? Certainly, we no longer have a choice in the matter. We make ourselves a raft of pixels that float down the nextwork. We make a neighborhood out of cars and traffic. We fill these vehicles with many meanings, of insulin, of textbook. A hologram is a break in bone. Associated with an open, an open, an open, or open bone end. Sometimes holograms are certain, unless attempted, unless successful.
Art for Art’s Sake…..25, 56
Glamour, Glitter…..34,78, 88
Older, wiser rock stars encounter wonderful new neighbors who want to tear down a shared fence and install a pool. 8/19/2015 9:31 PM…..21, 41
Because the girls want more time together without crowds of people. 8/19/2015 9:31PM…..5, 18, 49
Lucite. The material of minimalism and more. A prism that can hang in a window is also a prison you can shine a flashlight through. The reflections we give each other are a company, the highest or lowest excursion relative to solace. The sky is a big burning disk, a carpet burn, the tactile nature of art and its properties.
A hologram is defined as remote dressing and spirit encouragement, damage-less personal income. In the joy of the afternoon sun, the image of the hologram is parched and dissolved in a context of healing. It dissolves itself. It could save humanity, except, it doesn’t. It just keeps keeping us from ourselves.
Everything that uses diffraction is a hologram.