The author questions the apparent democratizing potential of machinima, arguing that this form of expression is limited both in terms of production (creators) and consumption (audience). To make his point, he examines Alex Chan’s The French Democracy, a popular machinima that fictionally reconstructed the Parisian riots of 2005, concluding that this film is an anomaly if compared to the larger machinima production. Moreover, Chan’s point of view, while representative of the marginalized Parisian suburban dwellers vilified during the riots, does not represent all the members of that subaltern group. The author concludes that similar limitations affect other machinima productions.