In the introduction, Halberstam proposes low theory as a way to deconstruct the normative modes of thought that have established uniform societal definitions of success and failure.

He uses it to undermine heteronormative definitions of success and to argue that the failure to live up to societal standards can open up more creative ways of thinking and existing in the world.

"[2] Halberstam asks the reader how to avoid those heteronormative definitions of success and being that relegate other forms of knowing to redundancy and irrelevancy.

Halberstam provides several examples of publications, films and popular cultural artifacts in order to aid in explaining the concept of low theory.

Pixarvolts make subtle and obvious connections between communist revolt and queer embodiment, and get to the root of the struggle between human and non-human creatures.

Halberstam argues that although Marxist scholars have dismissed queer theory as "body politics", these film successfully show "that alternative forms of embodiment and desire are central to the struggle against corporate domination.

Halberstam claims, "the long march of the penguins is proof neither of heterosexuality in nature nor of the reproductive imperative nor of intelligent design.

"Two thematics can transform a potential Pixarvolt film into a tame and conventional cartoon: an overemphasis on nuclear family and a normative investment in coupled romance.

Jesse willingly knew that he was receiving a lap dance from a transsexual, but forgets the social norms that would typically accompany that.

Queer culture was brought to light in this film when Jesse and Chester share their convincing kiss at the end in their car next to a heterosexual couple.

Halberstam states that Kung Fu Panda "... joins new forms of animation to new conceptions of the human-animal divide to offer a very different political landscape than the one we inhabit, or at least the one Zizek imagines ..."[10] Halberstam goes in-depth on the complexity of animation, specifically in A Bug's Life, where a new form of "crowd scenes" were introduced.

Regarding stop-motion animation works Fantastic Mr. Fox, Chicken Run, and Coraline, Halberstam explains how ideas of racism, entrapment, masculinity, political progression, remote control, and imprisonment are present.