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Author’s Note:
This essay is the first part of a trilogy that explores how human beings approach reality through certainty, doubt, and ambivalence. It begins with certainty—how the desire for stability drives thought and belief, even when what appears secure is already open to change. Though written from personal inquiry, its scope is broader: the question of certainty concerns not one life but the fragile conditions of shared reality. The trilogy continues with The Discipline of Doubt and concludes with When All We Know Is Borrowed.
Ricardo Morín, Bala Cynwyd, Pa. August 23, 2025
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The Colors of Certainty
We live in an age unsettled by division. The subtleties of thought that once allowed us to pause, to weigh, and to distinguish are increasingly swept aside by the demand for immediate clarity. Everything is urged toward opposites: yes or no, ally or enemy, awake or asleep. The pace of public life, accelerated by technology and amplified by conflict, leaves little patience for nuance. Contradiction, which once signaled the restless work of an honest mind, is now treated as treachery. In this atmosphere, to admit complexity is to risk mistrust, and even the smallest hesitation is judged as weakness. We are asked, again and again, to define ourselves as though identity were a single stroke, not a layered drawing made across time.
Symbols flourish in such a climate while they reduce complexity into consumable images. Few have proven more enduring than the pill metaphors drawn from The Matrix film. When it appeared in 1999, the scene of choosing between a red pill and a blue pill was a cinematic device, which dramatized the tension between reality and illusion. Its influence grew gradually, as the film became a generational touchstone. Over the decades that followed, the pills slipped into online communities and political rhetoric only to harden into modes of thought that now shape how we imagine truth and the identity of belonging. To take the red pill became a declaration of awakening, access to hidden truths. To take the blue pill was to be mocked for complacency. Eventually the darker black pill emerged into both despair and fatalism embraced as destiny.
Once this logic takes hold, the world itself is reduced to a theater of absolutes. Disagreement becomes disloyalty, and belonging is measured not by shared life but by categorical allegiance. I have felt this even in conversations with people I have known for decades. In one such exchange, I remarked that I was appalled by Noam Chomsky’s recent habit, even in his nineties, of opposing Western hegemony over Russia as though that stance could excuse the war in Ukraine. Yet in another context, I expressed admiration for Chomsky’s earlier work on linguistic relevance in science four decades ago, which continues to illuminate how language shapes knowledge. To my interlocutor, these two statements seemed incompatible, as if they could not both be true. The expectation was that my judgment had to be seamless: either I rejected Chomsky entirely or endorsed him wholly.
Why must one justify such distinctions, as though every judgment were required to form a single line of allegiance? The contexts are not the same—one belongs to the 1980s, another to the present; one to the realm of linguistics, another to geopolitics. Yet in today’s climate, the demand for congruence is relentless. It reflects the pill logic that has seeped into our speech and habits of thought: one is either awake or asleep, aligned or opposed, consistent across every domain or untrustworthy in all.
That same craving for certainty also gave us Infowars—the radio podcast. Founded in 1999, the very year The Matrix was released, it became a commercial theater of the red pill metaphor. Infowars thrived on dramatizing crisis, telling its audience that elites, governments, or hidden forces manipulated events at every turn. What institutions explained as complexity, Infowars simplified into betrayal. The clarity it offered was intoxicating: good versus evil, freedom versus tyranny, awake versus deceived. It was not simply ideas being sold, but certainty itself—packaged with survival kits, supplements, and slogans. In seeking to liberate its audience from illusion, Infowars created a new one, offering not understanding but a permanent performance of awakening.
The narrowing of discourse is not only about politics and ideology, but it also extends to who is permitted to speak. I was reminded of this in a private exchange, where writing itself was dismissed as the work of an “armchair liberal” or a “limousine socialist.” According to this view, only those directly scarred by battle may speak of war, only those who have suffered prejudice firsthand may give voice to injustice, and to write as an observer is to mock the reality of struggle. It is a charge meant to discredit, as though the act of “fighting with a keyboard” were less real than hand combat in a bloodied field. Yet such suspicion denies what writing has always been: a means of bearing witness, of preserving memory, of shaping the conversation through which societies recognize themselves. The pen has never replaced experience, but it has always transformed it into something shareable and durable. To demand firsthand suffering as the sole qualification for speech is to reduce witness to autobiography and to strip dialogue of the breadth that comes when voices join from different vantage points.
Another difficulty lies in language itself. Writers who seek precision—who stretch language to its sharpest edge—often find that what emerges are metaphors. Even when grounded in substantiated terms, description requires figures of thought, images, and analogies that can never be wholly exact. The question is how precise language can ever be. Even the most brilliant minds struggle with definitions, because in their best formulations they remain presumptive theories. To acknowledge this is not to diminish language but to recognize that our dependence on tropes is not weakness but necessity. Story lines and metaphors are the bridges of comprehension, without which complexity would dissolve into noise. To lean on metaphor is not necessarily to abandon truth but to approach it by way of what can be shared.
What began as a film’s conceit has become a method of thinking, and in many ways a prison. The Matrix offered its audience a vision of awakening through choice, but our culture has taken that image and turned it into a grid of loyalties, where every stance is measured by whether one has swallowed the right capsule. Infowars amplified this posture; it dramatized the hunger for certainty until conspiracy became a substitute for thought. Suspicion of the writer’s position narrowed it further while it mocked reflection as inauthentic and demanded that speech bear the scars of direct experience before it could count as legitimate. And beneath it all lies the frailty of language itself: its inability to define with absolute precision, its reliance on metaphors that shape the very realities they describe.
To speak today of red pills, blue pills, or black pills is not only to reference a film or a subculture; it is to acknowledge the grip of a society that prefers binaries to dialogue, antagonism to complexity, performance to reflection. To resist that grip is to remember that thought is not a pill to be swallowed but a conversation to be carried, a conversation sustained in the fragile medium of language itself. However uncertain, however provisional, it is in that ongoing act of speaking and listening that culture remains alive—where friendship can endure, where witness can be honored, and where the truths no single color can contain still find their voice.
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About the cover image:
Newsprint Series Nº 9, 2006, by Ricardo Morín (47” × 74”): Translucent dyes, ink, white-out, and blotted oil paint on newsprint.
This image belongs to a series that transforms fragments of printed matter into layered fields of color and erasure, this piece speaks to the instability of certainty itself. The pigments veil and expose in turns, while the newsprint beneath reminds us that truth is mediated, provisional, and never free of interpretation. As with language in the essay, meaning emerges only through contrast, through what resists containment.
Annotated Bibliography
- Cialdini, Robert B. Influence: The Psychology of Persuasion. New York: Harper Business, 2006. (A classic study in behavioral psychology showing how persuasion exploits binary choices and authority cues, useful for understanding the appeal of pill metaphors and the certainty promised by conspiracy movements.)
- Lakoff, George, and Johnson, Mark: Metaphors We Live By. Chicago: University of Chicago Press, 2003. (A foundational text on metaphor in cognition and language, relevant to the essay’s argument that even the most precise use of language depends on tropes and figurative structures for human comprehension.)
- Marwick, Alice, and Lewis, Rebecca: Media Manipulation and Disinformation Online. New York: Data & Society Research Institute, 2017. (This analytical report documents how conspiracy narratives spread through online ecosystems; it highlights the role of platforms in amplifying symbolic binaries such as “red pill” awakening.)
- Pew Research Center: “Public Trust in Government: 1958–2023”. Washington: Pew Research Center, 2023. (Presents longitudinal data on the decay of institutional trust in the United States and offers a data-driven context for why audiences turned to alternative voices such as Infowars.)
- Southern Poverty Law Center: “Male Supremacy”. Montgomery: SPLC, 2019. (A report classifying the Incel subculture and related groups within the larger “male supremacist ecosystem,” cited in connection to the black pill ideology and its links to violence.)
- Sunstein, Cass R., and Vermeule, Adrian: Conspiracy Theories and Other Dangerous Ideas. New York: Simon & Schuster, 2014. (This book explores why conspiracy theories flourish and frames them as efforts to create certainty in moments of social disorientation. It is highly relevant to the discussion of Infowars as a commercial theater of the red pill metaphor.)
- Taguieff, Pierre-André: The New Culture Wars. Paris: CNRS Éditions, 2020. (This book is a political-philosophical treatment of identity politics and binary antagonisms in Western democracies: it offers a perspective on how pill metaphors entered the broader theater of culture wars.)
- Tversky, Amos, and Kahneman, Daniel: Judgment under Uncertainty: Heuristics and Biases. Cambridge: Cambridge University Press, 1982. (A landmark in cognitive science explaining why people reduce complex realities into simplified binaries; it anchors the essay’s meditation on the lure of certainty.)
Observations On Perception 