The elucidation of such a freakish becoming-imperceptible is the purpose of this brief consideration. The freaks of Tod Browning's Freaks are irreducible to the moralizing—and molarizing—ideology presented by the very narrative they inhabit. They exist, instead, in moments of suspended, freakish contemplation, and in so doing they work to unravel the neatly woven filmic tapestry that situates monstrosity as a punitive response to wrongdoing. In turn, this becoming-imperceptible acts upon Freaks to un-work it as a cohesive fiction and dilute its narrative linearity, enabling cinematic lines of flight to rupture and emerge in its place and rendering Freaks as rhizome—an assemblage in a constant state of destratification and restratification and overtaken by “a transversal movement that sweeps one way and the other” (Deleuze and Guattari 25). Both Freaks and its freaks are rhizomatic assemblages continually becoming-imperceptible, slipping in and out of reach of the moralizing and molarizing framework to which they putatively swear fealty.