By Ray Pride Pride@moviecitynews.com

DID THE OSCARS JUST PROVE THAT WE ARE LIVING IN A COMPUTER SIMULATION?

“Last night’s Oscar bizarreness was not just bizarre but bizarre in a way that is typical of this entirely bizarre time. The rhythm of the yes-they-won-oh-my-God-no-they-didn’t event, with La La Land replaced by Moonlight as Best Picture, was weirdly like that of… Election Night. First, a more or less expected, if “safe,” result was on its way—though Hillary Clinton never got all the way to the stage, so to speak, the result did seem safely in hand at 7pm., according to the polling—and the expected and safe people were ready to deliver their touching but obviously polished pieces. Then the sudden confusion and visible near-panic of people running around in the backgroun, with the same slightly horrified spirit that one felt on Election Night as shocking results began emerging from exurban counties in Florida. Then, yes—can this be happening?—the revised and unexpected result.

“In this case, obviously, the result was positive to all but the poor La La Land producers, with their earnest and spouse-approved speeches already delivered. Moonlight was no Donald Trump of cinema, and obviously a popular favorite. But the rhythm of the night was disconcertingly the same, and the sheer improbability of the happenstance scarily alike. Nothing like this has remotely happened before. This wasn’t just a minor kerfuffle. This was a major malfunction. Trump cannot be President. People don’t say “Grab ’em by the pussy” and get elected President. Can’t happen. In the same way, while there have been Oscar controversies before—tie votes and rejected trophies—never before has there been an occasion when the entirely wrong movie was given the award, the speeches delivered, and then another movie put in its place. That doesn’t happen. Ever.

“And so both of these bizarre events put one in mind of a simple but arresting thesis: that we are living in the Matrix, and something has gone wrong with the controllers. This idea was, I’m told, put forward first and most forcibly by the NYU philosopher David Chalmers: what is happening lately, he says, is proof that we are living in a computer simulation and that something has recently gone haywire within it. The people or machines or aliens who are supposed to be running our lives are having some kind of breakdown. There’s a glitch, and we are in it. There may be not merely a glitch in the Matrix. There may be a Loki, a prankster, suddenly running it.”
~ Adam Gopnik

Comments are closed.

Quote Unquotesee all »

“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray