For years, the “blue pill, red pill” option of The Matrix has served us well as a metaphor for pretty much anything that requires waking up from one illusory reality to another—more real—reality. As Morpheus says to Neo, “You take the blue pill—the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill—you stay in Wonderland and I show you how deep the rabbit-hole goes.”
But the problem with this scenario is that it offers only two choices, and the world is rarely that simple. Today I saw Inception, the new Christopher Nolan movie starring Leonardo DiCaprio (otherwise known as The Bastard Who Annoyingly Gets Better And Better). According to Wikipedia’s synopsis, Inception is:
A variant on the heist genre, [and] centers on Dom Cobb, an “extractor”, who enters the dreams of others to obtain information that is otherwise inaccessible. His abilities have cost him his family and his nationality, but a chance at redemption and regaining his old life is promised when Cobb and his team of specialists are hired to plant an idea in a target’s subconscious. This process of planting of an idea, known as “inception”, is less familiar and far more difficult than Cobb’s usual job of “extraction”.
Like The Matrix, Inception offers alternate (albeit “waking” and “dream”) realities. But unlike The Matrix we are not left with two choices: instead, we have five. Mobilizing five realities is less convenient than two in a world of black-and-white (or red-and-blue) arguments, so it will never surpass the “blue pill, red pill” metaphor; however, those with a taste for nuance may find it more useful. My immediate thought was that it maps quite nicely on to a gender theory typology. The five layered realities of Inception are:
- The Flight. The first reality takes place on a first-class flight from Australia to Los Angeles. This represents the waking reality of most people: gender normativity. Everything is in its order: power is allocated unevenly, but there are “natural” reasons for this.
- The Raining City. The second reality takes place in the raining city where Fischer is kidnapped. This represents various constituencies among the men’s movement. Something is adrift, but no one is quite sure what. Fingers are pointed and blame allocated, but almost randomly.
- The Hotel. The third reality takes places in the hotel where Fischer is partially informed that some kind of alternate reality is unfolding. He now knows there are things going on behind the scenes and is looking for answers, akin to those offered by feminism and hegemonic masculinities.
- The Snowbound Fortress. The fourth reality takes place in the assault on the snowbound fortress in which lies Fischer’s dying father, the source of the “positive” thought-virus: the “inception.” This represents the multiple identity-becomings of queer theory.
- Limbo. The fifth reality takes places in the almost timeless domain of limbo where the “I” dissolves into the subconscious, in this case created by Cobb and Mal’s regrets. This is a kind of pre-individuated Lacanian Real (even if the Inception narrative requires individuated agency for momentum); gender-wise it is Ettinger’s matrixial borderspace. There are lessons here that take a lifetime to learn: literally so for Cobb and Saito, as a minute in the first reality can be a decade in the fifth.
By moving through the five realities we hit the irreducible. But while the last is in some ways the most stripped back and honest, it is also the most bleak. We need to take the lessons learned there and bring them back to the surface. The device Inception uses for this is “the kick”: a sensory jolt that pulls us back up the reality ladder to the first-class flight, while retaining the full knowledge and memories of the lower rungs. Once returned, the test for the characters is to maintain a grasp on which is the “real” reality, or at least acknowledge that they must hold multiple realities in tension.
I find that with gender it is quite easy for the curious and open-minded individual to consciously descend the reality ladder. However, there remain two difficulties. First, “the kick”: finding the right device to pull us back to the surface unscathed. Second, the “inception”: how to successfully plant those positive gender thoughts in the mind of the unsuspecting first-class traveler in such a way as they perceive it to be their own doing. Both are elusive.
Anyhow, some rough initial thoughts which point to something far more elegant than they actually articulate. I’m sure over the coming months both film philosophers and psychonauts will offer some very sophisticated readings of this thoroughly enjoyable movie.