Chicken Run is different from Toy Story in that the Oedipal falls away as a point of reference in favor of a Gramscian structure of counterhegemony engineered by organic (chicken) intellectuals. In this film an anarchist’s utopia is actually realized as a stateless place without a farmer, an unfenced territory with no owners, a diverse (sort of, they are mostly female) collective motivated by survival, pleasure, and the control of one’s own labor. The chickens dream up and inhabit this utopian field, which we glimpse briefly at the film’s conclusion, and they find their way there by eschewing a “natural” solution to their imprisonment (flying out of the coop using their wings) and engineering an ideological one (they must all pull together to power the plane they build). Chicken Run also rejects the individualistic solution offered by Rocky the Rooster (voiced by Mel Gibson) in favor of group logics. As for the queer element, well, they are chickens, and so, at least in Chicken Run, utopia is a green field full of female birds with just the occasional rooster strutting around. The revolution in this instance is feminist and animated.