The High Femme Dystopia of Star Amerasu

If the recent embrace of seemingly--and only seemingly--autonomous machines is any indication, something much less chic than the future premised in "The Matrix" awaits us. During the 1999 film's sequence of down-the-rabbit-hole scenes, Morpheus (Laurence Fishburne) flips the channel on the late-nineties metropolis as Neo (Keanu Reeves) knows it, revealing it to be a "computer-generated dream world" that pacifies a dozing human race whose bioelectricity is extracted by machines, for machines, circa 2197. The "world as it exists today" is instead a dark and decaying place--the "desert of the real," as Morpheus coolly puts it. It is also, he explains, the aftermath of early twenty-first-century optimism, a time when, he says, "we marvelled at our own magnificence as we gave birth to A.I." Still, dystopia as envisioned by the movie's directors, the Wachowskis (and their collaborators, on that film, particularly in production and costume design), looks pretty rad, in cinematic terms. The glint and thrum of Y2K aesthetics--as contrasted with the droning conservatism of the white-collar office--read as anticipatory rather than melancholic, looking toward a future liberated from systems of old.