What's up with the "marriage" thing between those two?.
Why would be two programs need to be linked somehow?.
Also If, like posted on other threads, Persep. is the mother of Matrix, it
would make sense her asking for a kiss, since she's interested in human psyque or even feelings,
but why Merov. seeks pleasure?(when going after the cake loving blonde) isn't he a program? I thought Smith was the only one adquiring human caracteristics.
Thoughts anybody?
like he said, it's a game to him, to see how he can manipulate humans.
however, AI is a close relative of human intelligence, so all AI will share characteristics that humans possess. Mere programs like the agents or birds are different.
oh!
has it really been posted before, terikan,? or is it just your signature?
I found another possible answer through a fellow fan:
Contrast the relations between Neo and Trinity with Merovingian and Persephone. The former couple experiences a bond that - despite its almost painfully embodied nature, what with all those sockets - is almost artistic in its realization of authentic love. The latter couple, however, in spite of all the polish, panache and elegance the matrix can conjure, are revealed as worse than children playing at love - because they have no true concept or experience of feeling or emotion. Sure, they know how to manipulate the sensations of others - and they are expert in so doing - but in so doing they are like bored children pulling the wings off a fly.
That is why those two maligned scenes - involving the cake and the kiss - are so necessary to the film, for they expose - in a visceral manner that the Architect’s speech can only render as dry logos - the complete failure of any of the machines’ attempts to grasp emotion and choice. Merovingian has all the outward appearance of refinement, culture and education but his marvelous abilities with regard to language are wasted on meaningless tongue-twisters and the cultivation of curse-words, just his prodigious skill at program-writing is expended on the basest form of manipulation. And unlike Mouse from the first movie, Merovingian is not even acting on instinct or urges - he is merely playing at having such urges.
The same can be said for the Italian eye-candy Persephone, but in her case her outfit speaks even more loudly than her banal adolescent desire for a kiss. Despite her outfit’s obvious advantage in revealing her cybernetically perfect figure, there is something askew - the color, texture, cut - that, as with Merovingian’s “manners,” marks her as a monstrosity. Not because of what she is, but because what she attempts to pretend to be. Both are vampires for human feeling, hungering for what they cannot experience and do not even understand. Needless to say their “relationship” is equally devoid of any authentic feeling.