Terry Gilliam’s 1985 cult film Brazil posits a polluted, hyper-consumerist and totalitarian dystopia in which a renegade heating engineer, Archibald Tuttle, takes great risks to conduct repairs outside of the stifling and inefficient bureaucracy of “Central Services.” When Tuttle’s rogue repairs are detected, Central Services workers demolish and seize repaired systems under the pretext of “fixing” them.