This chapter explores the visual oversaturation of the revolt, as video recordings became ubiquitous in efforts to expose police violence and counter official misinformation. I interpret the unconscious effects of this compulsion to film through the fantasy of immediacy. Drawing on the relentless attempt to see ‘everything’ and the homophony between deber (duty/indebtedness) and de-ver (to see), I examine how mediation is cast as both false and external, in contrast to the supposed directness of visual evidence. Within this fantasmatic framework, the act of seeing becomes libidinised, allowing subjects to locate themselves affectively within the revolt.