Funny how "The Matrix" -- which was so influential for a little while, in terms of style, how, I dunno, dated it is, too. I enjoy it more now than I originally did. I actually found it very disappointing when I saw it on the big screen. Trinity reminded me of Abby Normal, a character I'd made at least a decade before (herself my own kind of take on Molly from "Neuromancer" -- a recurring character William Gibson used in a few tales). At any rate, "The Matrix" blew its wad after the first movie, staggered, stumbled, fell.
One thing that amused me with it, however, something that was never really dealt with in the pseudo-scientific spackle that made up the story was the Matrix itself. One image in particular (and a minor one at that) always stuck with me -- it was near the end, when a bum in the subway sees Trinity and Neo do something extraordinary, and that alerts Agent Smith, who appears in a few moments to attack Neo. Well and good.
But the bum in the subway always amused me -- Smith talks about how suffering and strife appeared to define humanity's existence, and how perfect Matrices led to the loss of "whole crops" (as he termed humanity). So, the concept of struggle was introduced, and the Matrix ideal archetype was set, with late 20th century civilization set up as civilization at its peak.
So, there's the bum in the subway, and I always found myself wondering: who gets to be the bum? Who's the lucky soul who is the Designated Bum in the Matrix world? For much of the movie, you see this very clean corporate world -- lots of movers and shakers, a few working-class types, some shadowy cops, even some rain-slicked streets and derelict buildings.
But who gets to be the bum? How does that work out? In this world, a variety of situations can lead to that, sure -- mental illness, terrible sustained misfortune (?) -- both? It takes something pretty bad for somebody to end up a bum. However, in a created universe, one that is administered as the Matrix is, something (the Architect, I guess?) is deciding who does what. I guess the program decides that X% of the populace gets to be bums, Y% gets to be famous and rich, Z% occupies some middle niche.
In the movie, you see Cipher talk to Smith about what he wants to be, when he gets plugged back in, and so you can see that there, at least in theory, is some process of allocation in the Matrix, at least for those who are aware of it as a construct.
That being said, say you are one of the unlucky sods who ges to be The Bum. Since the system is a program, since your Bum archetype is effectively your programming, is it possible for you to rise above your "station" -- to become more than a bum, more than a derelict? Or is that guy resigned to his condition, drinking rotten booze and laying there in a subway with his newspapers and his filth because he's lacked the willpower to move beyond his programming.
Given the ghetto Nietzschean values that underpin so much of "The Matrix," it's very hard to look at the Bum and not think that this guy is just a complete human waste, and if he only had the Will To Power(tm), he'd be a player like Neo and Morpheus and the other Matrix Kool Kids(tm).
All the same, I find it funny to think of these constructs with their apparent lot in life, just because it's one thing to have a construct of a playboy club kid, or a restauraunteur, or a tycoon, or fashion model or a rock star -- but the bum? How much does that suck? Big-time. So, is that an expression of the inhuman cruelty of the Matrix in action, or does the Bum(tm) serve a purpose within the Matrix itself, as a cattle prod to ensure that the constructs within it are all busy working hard so they don't, themselves, end up as bums? Since nothing in the Matrix is truly accidental (since it is a program, we have to assume this, right?) -- then the Bum exists for a reason.
Still, I can't help but laugh every time I see that hapless bastard in the subway -- it's somehow an extra screw-job to be a bum in a virtual universe. Bad enough to be one in the real world, and somehow an extra kick in the teeth to be one in a virtual world.
But the animated Aura was my first experience with the women of Mongo.
In her 1960s Swinging London prime, Julie Christie was amazingly hot. She just had this elemental hotness to her. Aries babe. Hmmm. Fucking hot.
What evolutionary advantage is served (if any) by the ability to cock one's eyebrow? I've often wondered that, being able to cock my right eyebrow (but not the left) my whole life. Not everybody can cock their eyebrows. Some can do one, some can do the other, and some can even do both. So, clearly there is a gene or something at work with eyebrow-cocking. And as such, what is the selection process for it? How does it get passed on? Is it a favorable adaptation/mutation in some way? I joked with Leona, my anthropologist friend and former coworker, suggested that the cocked eyebrow was intended to convey bemusement and/or smugness, and perhaps it served some evolutionary advantage in that regard. But we had no conclusions to be derived from it. I don't know if anybody's ever done a study on it. I do, however, wonder about its origins. Who can do it and why they can.
This is a glimpse of my desk. I have this little Matchbox Mercedes-Benz Unimog truck there. I love the Unimog. It's just very cute. I first saw one at a Target, bought it for B2. He played with it awhile, then lost it (I think it was on his stroller, tumbled away at some point). I was saddened by the loss of the Unimog, and bought myself one (pictured, above). I stumbled across two of them at a Target in Northlake last weekend, and bought both, gave them to my boys. There is something very agreeable about the squat shape of the little trucks. And I love the all black tires, instead of the black-and-silver which is a toy car staple. And I love that the little bed in the back can be put to work.