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.

Now in its 16th season, RuPaul's Drag Race has birthed more than a few iconic lip-sync battles, but precious few have featured Muppets. AI Drag Race changed that. In the Instagram account's recent season finale, Miss Piggy, wearing an AI-generated drag look, faced off against lover-turned-rival Kermisha Ihman, who had a thick, 40-inch-long ponytail atop her green felt head. Tackling Lady Gaga's "Telephone," the two whirled and jumped, kicking and bucking in front of head judge Betty Boop. Kermisha worked her faux-nailed webbed feet, sickening in her bejeweled purple corset, but ultimately she fell to Piggy, whose fringe flew as she went for a well-timed jump split at the song's climax.