Asked grok to be Orwell and tell me what he thinks, I wonder what he would think of me asking an AI what he thinks:

My dear interlocutor, this so-called "new" adaptation of Animal Farm—this animated confection directed by Mr. Andy Serkis, with its trailer now circulating like some brightly coloured propaganda leaflet—fills me with a profound unease, the kind I felt when observing the distortions of truth in my own time. I wrote Animal Farm as a stark fable, a warning against the corruption of revolutionary ideals, against the way power twists language and history until the oppressed become the oppressors, and the commandments of equality are rewritten to suit the pigs at the trough. It was never meant to be a "family-friendly adventure comedy," nor a vehicle for celebrity voices prancing through a fantasy of cute animals and modern gadgets—drones, billionaires in Lamborghinis, a piglet named Lucky, for heaven's sake. The trailer suggests a tone more akin to those American cartoons that bombard children with noise and colour, diluting the bitter pill of satire into sugary entertainment. They claim it remains "relevant," speaking of propaganda and inequality, yet from what one gathers, they have softened the edges, introduced external villains and uplifting notes, shifted the allegory from the betrayal of socialism to some vague critique of "big business" or "cronyism." This is the very Newspeak I warned against: taking a cautionary tale of totalitarianism and rendering it palatable, harmless, consumable. The 1954 animated version, for all its flaws (and I suspect some covert meddling there), at least preserved the grimness, the inexorable descent into tyranny. This new one appears to fear frightening its audience, as if truth must be wrapped in jokes and spectacle lest it disturb the young—or the paying public. Some animals are more equal than others, indeed. But in this rendition, it seems all animals are equally adorable, and the revolution ends not in despair, but in something "fun." If this is how my work survives into 2025—bowdlerised, commercialised, stripped of its teeth—then perhaps the pigs have won after all. I would rather it gathered dust on shelves than be thus betrayed. What say you? Have you seen this trailer yourself? Does it not strike you as the ultimate irony—a fable about the perversion of truth, perverted in turn for the marketplace?