Restoration of the natural order of things in the Universe is possible in two versions of the future destiny of mankind:

● either rollback of the human-like biomass into fauna, with close to total nullification of its culture and memory, by means characteristic to higher-order matrices of life;

● or the transition of society to the dominance of the humane psychetype and a respective culture, by means of mind and will, that allow free aim-setting and limit-setting of what is possible and morally-ethically acceptable.

All of the above is within bounds of basic school courses of biology and psychology. Unfortunately, school courses of biology, psychology, history and other subjects are scattered and are not interrelated contextually, creating a kaleidoscopic worldview in school children, in which every known fact exists on its own, being torn away from the facts known from other subjects, and from real life. Possibly that is precisely why the youth, which has yet to live independently in the adult world, in an unconscious effort to create a holistic picture of the world’s interrelations, responds much faster than older generations to “The Matrix”, which brings up these problems in a non-lexical form of the figurative-allegorical narrative, bypassing the conscious of its audience.

The attitude of the film creators to the system of “connections”, analogous to the one pictured on the wall of an african cave, is ambiguous and inconsistent:

● on one hand, in the process of transfer of the conscious of the protagonist from the “Matrix” reality into the reality of supposed freedom, it was not shown, although the American cinema, as mentioned earlier, is not known to exercise delicacy in demonstrating naked human body and various acts, directly or indirectly concerning genitalias of men and women;

● on the other hand, the topic of the “woman in red” (who transforms into an “agent” of the “Matrix” in one of the training programs) is raised repeatedly, attracting attention to the problem of liberation of the individual and society from the dictatorship of instincts and their cultural shells in the algorithms of the unconscious levels of psyche.

In this ambivalent attitude of film authors towards the problem of normal human psychetype, manifested the mostly unconscious battle between two mutually exclusive tendencies in the biblical culture.

According to one of them, everything related to the sexual sphere should not be subject to openness in the society, neither in flesh, nor word, nor artistic imagery or figurative narration. But since there is no escape from nature, the civilization creates many cultural shells, elevating animality in its essence to the level of “eternal values” of humanity. As a consequence of this, the culture, idealising the cultural shells in which instincts are hidden, supports inhumane psychetype in the society, obstructing transformation of civilization into the Humanity.

According to the second tendency, the cultural shells are worthless, but the animality, uncovered under pressure from the porno-industry, is portrayed as the true essence of humanity, is therefore nothing to be ashamed of, and its manifestations should be given full freedom in the “safe sex”. This, in essence, is a direct refusal to become Human.

Both of these tendencies together in the culture of the present civilization are inseparably linked. The victory of either one of them would be victory of one of the forms of the same content. Precisely because of the unity of their content, the struggle between the two tendencies represents one of the ways of retaining humanity under the power of the “Matrix”.

The creators of the film, although they have shown this duality, have left in the defaults the battle between these two formal tendencies, therefore supporting the culture that would express animality in the future as well.

Since the system of “connections”, similar to the one pictured inside the african cave, was not shown clearly, then it was done not without reasons and not without aims:

● either because the “extrasenses-clairvoyants”, involved in the creation of the film, are themselves are so cocooned by this “connection”, that cannot see the light of day from their cocoons, nevermind the “thin worlds” where these “connections” are visible;

● or with the aim of saving the “connection” and cultivating it henceforth.

Pendency of this conflict between forms of one and the same animal origin was expressed by the creators of the film in the development of its plot. As seen from the film, in the reality of alleged freedom, where the main hero finds himself, there is no freedom from the unbearable pressure of instincts onto the psyche. In the reality of alleged freedom of the “real world”, the chracters’ lives are under the control of the very same “Matrix” of human enslavement. The happy end was inches away from the abyss, because the local “Judas”-Cypher craved for sexual intercourse with Trinity, and Trinity herself, while being cold-hearted to Cypher, lives awaiting Anderson-Neo’s love. So, in the reality of allegedly unlimited freedom, in which the crew of the “Nebuchadnezzar” lives free from the dictate of programs of neuro-interactive model of the “Matrix”, a typical “love triangle” has formed, which is inevitable in all cultures that reproduce inhumane psychetypes in the succession of generations.

It can be noted, that the local “Judas”, who betrayed Morpheus the “Baptist”, is the sole character of the “Matrix”, whose appearance can be identified as slavonic. It is as if his image was purposely made based the known appearance of the last non-orthodox all-Russian ruler Svyatoslav, the father of Vladimir, who became the Christian baptizer of Russia. The only difference — instead of a lock of hair on a shaved head he wears a narrow beard above his chin. In other words, the image of the “Judas”-Cypher has been purposely constructed so, that with promotion of the film in the global cinema, image of slavonic countries, specifically — Russia, as an enemy would be formed in the public’s unconscious. In particular, Cypher is the only character who likes to drink, and the stereotype “Russians — the first drunks in the world” is well known.

Concluding from the above, the film does not show real freedom. After the destruction of one reality — the Earth’s biosphere — by the “humanity”-virus, “the cancer of this planet”, the same virus, after recovering in custody of the machine system called the “Matrix”, attempts to break out of its control and create a new reality in order to continue parasitizing without transforming itself. Precisely parasitizing, since it cannot do and will not be able to learn anything else, until it frees itself from the system of “connections”, shown earlier.

Besides that, all characters in the allegedly free “real world”, receive a new “connection” that is inserted into the back of their heads. Without this “connection” they cannot enter the world of the former “Matrix”-reality. Is the new “connection”, inserted in the back of the head, better than the old set of “connections” to the “Matrix” machine? — the question is up for discussion. In our opinion, both connections are of a similar nature.

Some, after reading the above, may understand it in the sense that we support total emasculation of both genders. Not at all: it should be understood that with the humane psychetype, an emotional self-sufficiency of an individual of any gender or age is achieved, thus removing any oppression of their psyche by instincts; and the individual’s behaviour ceases to be dependant on more and more sophisticated and perverted, by “progress” of culture, ways of satisfaction of lust of both men and women. Originality of both genders, uniqueness of every individual is preserved with the transition to the humane psychetype, but relations between men and women acquire a new quality and become uncomparable with relations between males and females of any animal species in the Earth’s biosphere. Consequently, transition to a domination of the humane psychetype leads to the transformation of the entire culture.