Her And Worker Dreden Analysis

Postmodernist performances are ambiguous and controversial works that combine writing techniques and styles to piece together humorous and playful, yet sardonic stories. The films of Her by Spike Jonze and Worker Drone by Sharat Raju are postmodern works that share the universal themes and characteristics of the implementation of hyper-reality, ambiguity, and the development of characters in inescapable situations. Postmodern works allow the audience to interpret the story through different lenses. For example, an editorial article by Reykjavik Boulevard, a magazine publisher, argues that while Her is a love story, it is also “a philosophical dissertation” (Reykjavik Boulevard, n.d.) of our complete dependence on technology. They argue that we depend on and love technology since they serve us; it is an ‘acceptable madness’ that “accepts us for who we are, making us able to be everything.” (Reykjavik Boulevard, n.d.)
First, the productions of Her and Worker Drone implement the postmodern element of hyper-reality as the leading roles lose their ability to differentiate reality from fantasy.
In Her, the main character, Theodore, falls in love with an intelligent computer operating system and starts to believe that it is a real person. Theodore’s inability to tell reality from fantasy leads him down a path of isolation, loneliness, and irresponsibility, as he forgets about the world around him so that he could talk to his computer. When confronted by co-workers, Theodore argues that “feels like [he] can be anything with [it].” (Jonze, 2013) Similarly, in Worker Drone, Rahul participates in a competition for a chance at the managerial position. Amar, his co-worker, cautions Rahul that “[their] consoles control actual aircrafts” (Raju, 2011) that are shooting unknown targets, but his lack of consciousness leads to the destruction of his loved one's
village. Second, both films have ambiguous endings that leave the audience wondering. In Her, the intelligent operating systems project ends since the computers started developing consciousness and having relationships with humans. After the bots went away, Theodore asks his friend, Amy, who was also dating an OS, if she would “come with [him]” (Jonze, 2013) to the rooftop. The movie ends with them sitting on the building ledge. This ending is ambiguous as it leaves the audience wondering if they committed suicide or if this was the start of their relationship together. In Worker Drone, Rahul realizes that the location of where the game where his lover, Neela, resides. After forfeiting his position in the game, the film ends at the Hills, where Rahul sees what he had done, but reunites with Neela. This ending is ambiguous because it leaves the audience wondering if Rahul will tell the others of his discovery, who the targets were, and if Technology City will continue supporting this practice. Third, the main characters in both films are in inescapable situations that lead to their downfall. In Her, technology aided Theodore’s loneliness and depression, but when it left, Theodore was worse-off, since he depended on it. Similarly, in Worker Drone, Rahul’s life is woven with technology, which he enjoys, but he realizes that it is inescapable and unstoppable, as it leads to the destruction of Neela’s village. In conclusion, Her and Worker Drone are examples of postmodernist works as they are stylized with the elements of hyper-reality, ambiguity, and characters in inescapable situations. The stories show the possibilities of human downfall through technology, whether on a personal level, or the human population.