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Matrix Red Pill Blue Pill Scene Analysis Essays

"Red pill" and "the red pill" redirect here. For the rapper, see Red Pill (rapper). For the 2016 film, see The Red Pill.

The red pill and its opposite, the blue pill, are popular culture symbols representing the choice between embracing the sometimes painful truth of reality (red pill) and the blissful ignorance of illusion (blue pill).

The terms, popularized in science fiction culture, are derived from the 1999 film The Matrix. In the film, the main character Neo is offered the choice between a red pill and a blue pill. The red pill would allow him to escape from the Matrix and into the real world, therefore living the "truth of reality" even though it is a harsher, more difficult life; whereas the blue pill would lead him to staying in the matrix, living in a pretend world.


The Matrix makes references to historical myths and philosophy, including gnosticism, existentialism, and nihilism.[1][2] The film's premise resembles Plato's Allegory of the cave,[3][4]René Descartes's skepticism[5][6] and evil demon, Kant's reflections on the Phenomenon versus the Ding an sich, Zhuangzi's "Zhuangzi dreamed he was a butterfly", the concept of a simulated reality and the brain in a vat thought experiment.[7][8]

Japanese director Mamoru Oshii's Ghost in the Shell was a strong influence.[9]

The Matrix

See also: Influences and interpretations of The Matrix

In The Matrix, Neo (Keanu Reeves) hears rumors of the Matrix and a mysterious man named Morpheus. Neo spends his nights at his home computer trying to discover the secret of the Matrix and what the Matrix is. Eventually, another hacker, Trinity (Carrie-Anne Moss), introduces Neo to Morpheus.

Morpheus (Laurence Fishburne) explains to Neo that the Matrix is an illusory world created to prevent humans from discovering that they are slaves to an external influence. Holding out a capsule on each of his palms, he describes the choice facing Neo:

This is your last chance. After this, there is no turning back. 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. Remember: all I'm offering is the truth. Nothing more.

As narrated, the blue pill will allow the subject to remain in the fabricated reality of the Matrix; the red serves as a "location device" to locate the subject's body in the real world and to prepare him or her to be "unplugged" from the Matrix. Once one chooses the red or blue pill, the choice is irrevocable.

Neo takes the red pill and awakens in the real world, where he is forcibly ejected from the liquid-filled chamber in which he has been lying unconscious. After his rescue and convalescence aboard Morpheus's ship, Morpheus shows him the true nature of the Matrix: a detailed computer simulation of Earth at the end of the 20th century (the actual year, though not known for sure, is approximately two hundred years later). It has been created to keep the minds of humans docile while their bodies are stored in massive power plants, their body heat and bioelectricity consumed as power by the sentient machines that have enslaved them.

In a 2012 interview, Lana Wachowski said:[10]

What we were trying to achieve with the story overall was a shift, the same kind of shift that happens for Neo, that Neo goes from being in this sort of cocooned and programmed world, to having to participate in the construction of meaning to his life. And we're like, "Well, can the audience go through the three movies and experience something similar to what the main character experiences?" So the first movie is sort of classical in its approach. The second movie is deconstructionist, and it assaults all of the things that you thought to be true in the first movie, and so people get very upset, and they're like "Stop attacking me!" in the same way that people get upset with deconstructionist philosophy. I mean, Derrida and Foucault, these people upset us. And then the third movie is the most ambiguous, because it asks you to actually participate in the construction of meaning...

—Lana Wachowski, Movie City News, October 13, 2012

Gödel, Escher, Bach

Douglas Hofstadter's 1979 book Gödel, Escher, Bach features a pair of characters who "push-into" and "pop-out of" the two-dimensional world of Escher prints. The way they do this is to drink from a blue or a red phial.[11] A further reference could be taken later in the story when the pair encounter a paradox during which "The System crashed". Hofstadter cites Lewis Carroll as a strong influence on the book (the front cover of the book has a line that says that the book is "in the spirit of Lewis Carroll".) The "push-into" and "pop-out of" phials are reminiscent of the Alice in Wonderland "drink me" and "eat me" potion and cake, which shrink and grow Alice. The Matrix very clearly references Alice in Wonderland with the "white rabbit" and the "down the rabbit hole" phrases.

Total Recall

The 1990 movie science fiction film Total Recall features a red pill which is offered to Arnold Schwarzenegger's character, Douglas Quaid, by one Dr. Edgemar. He is told "it's a symbol—of your desire to return to reality."[12][13] No blue pill is present in the film, and the story centers on the uncertainty of whether Quaid is dreaming or in the real world. However, the pill is offered to him with the claim that he is dreaming, and that the pill will return him to reality, with the words "inside your dream, you'll fall asleep." Quaid seriously considers the offer, but notices that Dr. Edgemar is sweating (indicating he's in the real world already), whereupon he shoots him in the forehead. (Ironically he had also told Quaid that if Quaid kills him, "the walls of reality will come crashing down"; moments after his death, the walls of the apartment literally come crashing down.)[14]


An essay written by Russell Blackford discusses the red and blue pills, questioning whether if a person were fully informed they would take the red pill, opting for the real world, believing that the choice of physical reality over a digital simulation is not so beneficial as to be valid for all people. Both Neo and another character, Cypher (Joe Pantoliano), take the red pill over the blue pill, though later in the first Matrix film, the latter demonstrates regret for having made that choice, saying that if Morpheus fully informed him of the situation, Cypher would have told him to "shove the red pill right up your ass." When Cypher subsequently makes a deal with the machines to return to the Matrix and forget everything he had learned, he says, "Ignorance is bliss." Blackford argues that the Matrix films set things up so that even if Neo fails, the taking of the red pill is worthwhile because he lives and dies authentically. Blackford and science-fiction writer James Patrick Kelly feel that The Matrix stacks the deck against machines and their simulated world.[15]

Matrix Warrior: Being the One author Jake Horsley compared the red pill to LSD, citing a scene where Neo forms his own world outside of the Matrix. When he asks Morpheus if he could return, Morpheus responds by asking him if he would want to. Horsley also describes the blue pill as addictive, calling The Matrix series a continuous series of choices between taking the blue pill and not taking it. He adds that the habits and routines of people inside the Matrix are merely the people dosing themselves with the blue pill. While he describes the blue pill as a common thing, he states that the red pill is one of a kind, and something someone may not even find.[16]

In the book The Art of the Start, author Guy Kawasaki uses the red pill as an analogue to the situation of leaders of new organizations, in that they face the same choice to either live in reality or fantasy. He adds that if they want to be successful, they have to take the red pill and see how deep the rabbit hole goes.[17]

Other uses

  • The Blue Pillrootkit ("malware")–named in reference to the pill as are the Red Pill techniques used to combat it–is a special type of software that utilizes the virtualization techniques of modern CPUs to execute as a hypervisor; as a virtual platform on which the entire operating system runs, it is capable of examining the entire state of the machine and to cause any behavior with full privilege, while the operating system "believes" itself to be running directly on physical hardware, creating a parallel to the illusory Matrix. Blue Pill describes the concept of infecting a machine while Red Pill techniques help the operating system to detect the presence of such a hypervisor.[18] These concepts were described by Joanna Rutkowska in 2006.
  • In cybersecurity, a red pill (demonized from Rutkowska's Red Pill) is any means of detecting hooking or virtualization. It is frequently used for testing if the trusted environment is required: BYOD, anti-cheat, antirootkit software, malware and DRM, etc... To have a red pill you usually need an uncompromised trusted real-time clock to be able to measure the time it takes to make some hooked action. If the clock is compromised the hypervisor can hide its presence by slowing the clock down in controlled way.
  • Until they were removed from the Maemo operating system application installer in January 2010, certain advanced features were unlocked by a "Red Pill Mode" easter egg to prevent accidental use by novice users but make them readily available to experienced users. This was activated by starting to add a catalog whose URL was "matrix" and then choosing to cancel. A dialog box would appear asking "Which pill?" with the choices "Red" or "Blue", allowing the user to enter red pill mode.[19][20] In "Red Pill" mode, the installer allows the user to view and reconfigure system packages whose existence it normally does not acknowledge. In Blue Pill mode the installer displays only software installed by a user, creating the illusion that system software does not exist on the system.
  • The choice between taking a blue or red pill is a central metaphor in the 2011 Arte documentary film Marx Reloaded, in which philosophers including Slavoj Žižek and Nina Power explore solutions to the global economic and financial crisis of 2008–09. The film also contains an animated parody of the red/blue pill scene in The Matrix, with Leon Trotsky as Morpheus and Karl Marx as Neo.[21]
  • The term "red pill" is frequently used by people in the men's rights movement as a metaphor for the specific moment when they come to the belief that certain gender roles they are expected to conform to (e.g. marriage, monogamy) are intended to benefit women, not themselves.[22][23] "The Red Pill" is also the name of a related manosphere and seduction community subforum on Reddit.[24]
  • The term "red pill" is also common on 4chan's "politically incorrect" /pol/ board where taking the red pill is usually used to mean embracing conservative political thought and other related ideologies.

See also


  1. Rothstein, Edward (May 24, 2003). "Philosophers Draw on the Film 'Matrix'". Retrieved January 4, 2016. 
  2. "Journal of Religion & Film: Wake Up! Gnosticism and Buddhism in The Matrix by Frances Flannery-Daily and Rachel Wagner". 
  3. Glenn Yeffeth (11 March 2003). Taking the Red Pill: Science, Philosophy and the Religion in the Matrix. BenBella Books. p. 152. ISBN 978-1-932100-02-0. 
  4. "You Won't Know the Difference So You Can't Make the Choice". 
  5. Dan O'Brien (4 December 2006). An Introduction to the Theory of Knowledge. Polity. p. 115. ISBN 978-0-7456-3316-9. 
  6. "Skepticism". 
  7. "The Brain in a Vat Argument". 
  8. Hazlett, Allan (January 15, 2006). "Philosophers Explore The Matrix". Retrieved January 4, 2015. 
  9. "Matrix Virtual Theatre (interview with the Wachowskis)". Warner Brothers Studios, Official Website. 1999-11-06. Retrieved 2012-07-19. 
  10. Poland, David (October 13, 2012). "DP/30: Cloud Atlas, Screenwriter/Directors Lana Wachowski, Tom Tykwer, Andy Wachowski". 18:49. Retrieved December 10, 2012. 
  11. Douglas R. Hofstadter (2000). Gödel, Escher, Bach: an Eternal Golden Braid. 20th-anniversary Edition. Penguin Books. pp. 106, 116. ISBN 978-0-140289-20-6. 
  12. Total Recall - final script, Retrieved July 2013.
  13. ↑ Dr. Edgemar's Pill, Total Recall (1990), Retrieved July 2013.
  14. "Total Recall Spoilers". IMDB. Retrieved 2016-08-20. 
  15. Kapell, Matthew; Doty, William G (2004-05-28). Jacking in to the Matrix franchise: cultural reception and interpretation. ISBN 978-0-8264-1588-2. 
  16. Horsley, Jake (2003-11-08). Matrix Warrior: Being the One. ISBN 978-0-312-32264-9. 
  17. Kawasaki, Guy (2004). The art of the start: the time-tested, battle-hardened guide for anyone starting anything. ISBN 978-1-59184-056-5. 
  18. ↑ Joanna Rutkowska. Red Pill... or how to detect VMM using (almost) one CPU instruction(archive), Invisible Things Lab
  19. "Red Pill mode". wiki. Retrieved January 25, 2010. 
  20. "src/". hildon-application-manager. Line 153. Retrieved January 25, 2010. 
  21. "Marx Reloaded trailer". Retrieved January 16, 2012. 
  22. "Men's rights movement: why it is so controversial?". The Week. February 19, 2015. Retrieved April 1, 2015. 
  23. Sharlet, Jeff (March 2015). "Are You Man Enough for the Men's Rights Movement?". GQ. Retrieved April 1, 2015. 
  24. Love, Dylan (September 15, 2013). "Inside Red Pill, The Weird New Cult For Men Who Don't Understand Women". Business Insider. Retrieved April 1, 2015. 

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A red pill and a blue pill.

The Film The Matrix Essay

In the film The Matrix (1999) in the scene “The Two Pills” help characters and relationships are developed and continuation of the films narrative through various components of cinematography and mise-en-scène. Most notable in The Matrix is the use of costuming, sound effects, props, setting and camera movement. Through the use of these techniques the audience becomes more involved in the narrative as Neo meets Morpheus for the first time and is given the opportunity to learn the secrets of the matrix.
Mise-en-scène according to Dix (2008) is the visual elements that make up a scene. Costume in this scene is an important component of mise-en-scène, as it displays the contrast between Morpheus and Neo’s characters. Piatti-Farnell (2013) stresses the symbolic value of costume in cinema, and its effect on characterisation and the relationship between a character and its audience. Morpheus once lived as a human in the matrix, he wears mostly black, including full length a leather trench coat, mirrored sunglasses and black combat boots. Street (2001) talks of costumes power to make individuals stand out and to show an individual’s affiliation to a group. Although we are first meeting Morpheus, we are able to establish a lot about his character. As we can link him to the matrix, and his coat makes us feel fearful of his authority and power. Due to leather jackets and their connotations to biker gangs. Later the significance of these black trench coats is understood, as they are also worn by all those in the matrix. Gills (2005) believes costumes in this film are vital to both the characters in the film and the audience, as they aid them differentiating between the real and the manufactured world. This can be seen later on, as when Neo enters the matrix he slicks back his hair and adorns the trademark mirrored shades. But for the pill scene, Neo is wearing his casual clothes, which causes the audience to tell the difference in knowledge and power between Neo and Morpheus. It also makes the audience feel like they could relate in Neo as he is a more accessible character. Morpheus knows the truth about the matrix and has experienced it before, meanwhile Neo is oblivious about the matrix. The mirrored sunglasses in this scene are especially prominent. When Neo is being offered the choice between the two pills, in one lens you can see the blue pill and in one you can see the red. Representing the two different lives that Neo has to choose between, one of blissful ignorance and one in search of the truth. These glasses are significant as all the agents in the matrix wear them, they hide their eyes but reflect the eyes of those looking at them. Symbolising protection for the agents hiding their eyes, and somewhat concealing their emotions. Starmans & Bloom (2012) see the eyes as the location of the self, as they reveal emotion. So by covering them in this film the agents are portrayed as harsh, stern emotionless characters.
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